RARE  AND  VALUABLE 


JAPANESE  COLOR  PRINTS 


THE  PROPERTY  OF 

Messrs.  William  S.  and  John  T.  Spaulding 

OF  BOSTON,  MASS. 


4» 


TO  BE  SOLD  AT 
UNRESTRICTED  PUBLIC  SALE 
AT  THE  GALLERIES  OF 


THE  AMERICAN  ART  ASSOCIATION 


MADISON  SQUARE  SOUTH 
NEW  YORK 


A 

1/U$  ’ 

/ArAUAVi 


UUM.  /f/y.  /ft  / 


JAPANESE  PRINT  FOR  $290. 

A  Beautiful  Harunobu  Leads  Sale  of 
250,  Bringing  $3,295. 

There  opened  at  the  American  Art  Gal¬ 
leries  last  evening  a  sale  of  74S  Japanese 
prints  offered  by  the  well-known  print 
collectors  of  Boston,  William  S.  and 
John  T.  Spaulding.  In.  purchasing  the 
Messrs.  Spaulding  have  frequently 
bought  collections  en  bloc,  bringing  to 
them  many  duplicates,  and  it  is  these 
l  prints  with  some  others  which  they  are 
S  now  selling.  The  first  250  went  last 
’  evening,  brought  $3,295. 

1  The  highest  price  of  the  evening  was 
paid  by  Yamanaka  &  Co..  $290,  for  No. 
20  in  the  catalogue,  an  interesting  and 
i  beautiful  print,  by  Harunobu,  ”  Izutsu- 
1  hime  at-the  Window.”  No.  94,  “  Kine 
ifie  Haru  Kyogen  no  Makura,”  actors 
dreaming,  sold  to  Frederick  W.  Goolun 
for  $150;  Nos.  191  and  192,  "Troubled 
Dream  ”  and  ”  Clandestine  Visit,”  by 
Harunobu,  sold  to  Bernet,  agent,  for 

^The  sale  will  be  continued  this  evening. 


01 

c< 

N 

si 

M 

tl 

P 

ir 

cc 

v< 

w 

w 

cl 


si 

03 

tt 

M 

lo 

d< 

cc 

Pi 

b< 

e\ 

sc 

v< 

v< 

d< 

It 


I  A  HARUNOBU  BRINGS  $430. 

an  * 


Con- 

rears 


m 


"The  Moon  Gazer”  Leads  Sale  of 
Japanese  Prints — Total  Now  $5,966. 

The  top  price  at  the  sale  of  the  Japa¬ 
nese  color  prints  of  the  well-known  Bos¬ 
ton  collectors  William  S.  and  John  T. 
Spaulding  at  the  American  Art  Gal¬ 
leries  last  evening  was  $430,  paid  by  a 
large  buyer  of  prints,  through  Bernet, 
agent.  This  was  for  No.  395,  ”  Th< 
Moon  Gazer,”  by  Harunobu,  a  very 
liant  impression  in  perfect  cor 
formerly  in  the  collection  of 
Sumitomo.  It  was  exceptions 
in  coloring. 

Hiroshige’s  ”  Shono  Rain,”  a 
pression  in  fine  condition,-  f- 
Frederick  W.  Gookin  collection. 

Charles  rf.  Pepper  for  $190. 

The  Metropolitan  Museum  wa 
chaser  paying  $32.50  for  No. 
actor  print  by  Shuncho.  ”  The  Tl 
gawa  Kikunojo  as  a  Tall  Worn. 

Flat  Straw  Hat,”  and  giving  th 
price  for  No.  398,  ”  A  Breezy  Dr 
Koryusai.  For  331  by  Hiroshig 
Eisen,  Mochizuki,”  road  Dorclei 
tall  trees,  deep  blue  sky  and  full 
Frederick  W.  Gookin,  as  agent,  ^aid 
147.50,  and  to  Bernet,  agent,  went  No. 
401,  ”  Two  Geisha  in  Summer  Attire,' 
one  of  ICiyonaga's  ”  Popularized  Twelve 
Pairs.” 

The  returns  for  the  morning  were 
$2,671,  making  a  total  to  date  of  $5, IF” 
The  sale  will  be  concluded  tonight 


U 


■ 1  •  ■  *■"'  *  nnin 


•-•ring-, 
imposed  to 


ncere  baby 
forth  his 
'  union,  ho 
the  press: 
egotiation. 

We  are 
-w  we  are 

true? 

INGPJR, 

Garment 


’  serried 

ty  night, 
it  pines 


®  your 

ite 

I 

Tig  on 

e  sky. 

wall, 

•e, 

em.  I 

lendors 


JAPANESE  PRINT  ro,.  ^,5. 

A  Utamaro  Brings  Top  Price  as  Sale 
Ends — Total  $9,718. 

Total  returns  for  the  748  Japanese 

or  wun  fi0nS  fr°m  the  ejections 
of  William  S.  and  John  T.  Spaulding  0f 

J  Boston,  the  sale  of  which  was  concluded 
m  the  American  Art  Galleries  last  night 
were  $9,718,  the  returns  for  the  evening 

,e  n°,!;7Kn  A  beaut,ful  Utamaro,  No 
M8>  The  Deeply  Thoughtful  Woman  ” 
a  soft-toned  print  in  gray  and  black 
with  mica  backround,  brought  the  high¬ 
est  price  of  the  evening,  $57 5,  going  to 
Bernet,  agent. 

‘  Shelter  From  a  Shower,”  a  delightful 

No r  610  ‘Thr?e  Uiwaka  Performers'' 
the"  ^me°sifbj<«;tSesol,(f1to5HSeHtaTT0^%°f 

POO;  •‘FanciJfuCl\ix0lTamaHRWer?”11£r 

wiVbaaSQ1X'sheet  composition  by  Utamaro' 

°f  women  on  the 

compositions  in  bef u  tftuT^o'l  o  f ’’ t  on 

iwaS  A0UIht  by  plc're  Dorillard  for^oKf-' 
Dr.  A.  B  Duel  paid  $155  for  No  fill 

Stef 

Sfjgf  S„£,  •’if-A  i  very  flm 


ing  out 
Senor  G 
d’Affaire 
be  taken 
ployed  1 
eration 
repatriat 
twro  wee! 

I  The  bo 
appears 
the  inte 
are  said 
solutely 
Soup  k 
in  Pana 
of  num< 
funds  p 
tions. 

WOIM 

Oberan- 

Amerlc 


down 


CjlPOORJO  pid 


OBER 
—The  I 
has  rec 
posals 
concern; 
product: 
next  b 
its  ref 
dition, 
The 
fused  ■ 
000  m? 
to  the 
the  pi 
ment  < 
teenth 
gratiti 
spared 
prod 
I  the 
1  *•» 


*<*o  o 


No.  618 


ILLUSTRATED  CATALOGUE  OF 


JAPANESE  COLOR  PRINTS 

THE  PROPERTY  OF 

Messrs.  William  S.  and  John  T.  Spaulding 

OF  BOSTON,  MASS. 


CHIEFLY  DUPLICATE  IMPRESSIONS  ACQUIRED 
WHILE  FORMING  THEIR  WORLD- 
RENOWNED  COLLECTION 


ON  FREE  PUBLIC  EXHIBITION 
FROM  MONDAY,  NOVEMBER  14,  1921 
AT  THE  AMERICAN  ART  GALLERIES 

AND 

TO  BE  SOLD  WITHOUT  RESERVE  OR  RESTRICTION 
BY  ORDER  OF  THE  MESSRS.  SPAULDING 
OX  THE  EVENINGS  OF  WEDNESDAY,  THURSDAY  AND  FRIDAY, 

November  16,  17  and  18,  1921 
at  8:00  o’clock 


CATALOGUE  BY 

FREDERICK  W.  GOOKIN 


THE  SALE  TO  BE  CONDUCTED  BY" 

Mr.  Thomas  E.  Kirby  and  His  Assistants,  of 
THE  AMERICAN  ART  ASSOCIATION,  Managers 
Madison  Square  South,  NEW  YORK 


CONDITIONS  OF  SALE 

1.  Any  bid  which  is  merely  a  nominal  or  fractional  advance  may  be  rejected  by  the 
auctioneer,  if,  in  his  judgment,  such  bid  would  be  likely  to  affect  the  sale  injuriously. 

2.  Th<-  highest  bidder  shall  be  the  buyer,  and  if  any  dispute  arise  between  two  or  more 
bidders,  the  auctioneer  shall  either  decide  the  same  or  put  up  for  re-sale  the  lot  so  in 
dispute. 

3.  Payment  shall  be  made  of  all  or  such  part  of  the  purchase  money  as  may  be  re¬ 
quired,  and  the  names  and  addresses  of  the  purchasers  shall  be  given  immediately  on 
the  sale  of  every  lot  in  default  of  which  the  lot  so  purchased  shall  be  immediately  put 
up  again  and  re-sold. 

Payment  of  that  part  of  the  purchase  money  not  made  at  the  time  of  sale,  shall  be 
made  within  ten  days  thereafter,  in  default  of  which  the  undersigned  may  either  con¬ 
tinue  to  hold  the  lots  at  the  risk  of  the  purchaser  and  take  such  action  as  may  be  neces¬ 
sary  for  the  enforcement  of  the  sale,  or  may  at  public  or  private  sale,  and  without  other 
than  this  notice,  re-sell  the  lots  for  the  benefit  of  such  purchaser,  and  tbe  deficiency 
(if  any)  arising  from  such  re-sale,  shall  be  a  charge  against  such  purchaser. 

4.  Delivery  of  any  purchase  will  be  made  only  upon  payment  of  the  total  amount  due 
for  all  purchases  at  the  sale. 

Deliveries  will  be  made  on  sales  days  between  the  hours  of  9  A.M.  and  1  P.M.,  and 
on  other  days — except  holidays — between  the  hours  of  9  A.M.  and  5  P.M. 

Delivery  of  any  purchase  will  be  made  only  at  the  American  Art  Galleries,  or  other 
place  of  sale,  as  the  case  may  be,  and  only  on  presenting  the  bill  of  purchase. 

Delivery  may  be  made,  at  the  discretion  of  the  Association,  of  any  purchase  during 
the  session  of  the  sale  at  which  it  was  sold. 

5.  5  hipping,  boxing  or  wrapping  of  purchases  is  a  business  in  which  the  Association  is 
in  no  wise  engaged,  and  will  not  be  performed  by  the  Association  for  purchasers.  The 
Association  will,  however,  afford  to  purchasers  every  facility  for  employing  at  current 
and  reasonable  rates  carriers  and  packers;  doing  so,  however,  without  any  assumption 
of  responsibility  on  its  part  for  the  acts  and  charges  of  the  parties  engaged  for  such 
service. 

G.  Storage  of  any  purchase  shall  beat  the  sole  risk  of  the  purchaser.  Title  passes  upon 
the  fall  of  the  auctioneer’s  hammer,  and  thereafter,  while  the  Association  will  exercise 
due  caution  in  caring  for  and  delivering  such  purchase,  it  will  not  hold  itself  responsible 
if  such  purchase  be  lost,  stolen,  damaged  or  destroyed. 

Storage  charges  will  be  made  upon  all  purchases  not  removed  within  ten  days  from 
the  date  of  the  sale  thereof. 

7.  Guarantee  is  not  made  either  by  the  owner  or  the  Association  of  the  correctness  of 
the  description,  genuineness  or  authenticity  of  any  lot,  and  no  sale  will  be  set  aside  on 
account  of  any  incorrectness,  error  of  cataloguing,  or  any  imperfection  not  noted.  Every 
lot  is  on  public  exhibition  one  or  more  days  prior  to  its  sale,  after  which  it  is  sold  “  as  is  ” 
and  without  recourse. 

The  Association  exercises  great  care  to  catalogue  every  lot  correctly,  and  will  give 
consideration  to  the  opinion  of  any  trustworthy  expert  to  the  effect  that  any  lot  has 
been  incorrectly  catalogued,  and,  in  its  judgment,  may  either  sell  the  lot  as  catalogued 
or  make  mention  of  the  opinion  of  such  expert  who  thereby  would  become  responsible 
for  such  damage  as  might  result  were  his  opinion  without  proper  foundation. 

SPECIAL  NOTICE 

Buying  or  bidding  by  the  Association  for  responsible  parties  on  orders  transmitted 
to  it  by  mail,  telegraph  or  telephone,  will  be  faithfully  attended  to  without  charge  or  com¬ 
mission.  Any  purchase  so  made  will  be  subject  to  the  above  Conditions  of  Sale,  which 
cannot  in  any  manner  be  modified.  The  Association,  however,  in  the  event  of  making  a 
purchase  of  a  lot  consisting  of  one  or  more  books  for  a  purchaser  who  has  not,  through 
himself  or  his  agent,  been  present  at  the  exhibition  or  sale,  will  permit  such  lot  to  be 
returned  within  ten  days  from  tbe  date  of  sale,  and  the  purchase  money  will  be  re¬ 
turned,  if  the  lot  in  any  material  manner  differs  from  its  catalogue  description. 

Orders  for  execution  by  the  Association  shoidd  be  written  and  given  with  such 
plainness  as  to  leave  no  room  for  misunderstanding.  Not  only  should  the  lot  number 
be  given,  but  also  the  title,  and  bids  should  be  stated  to  be  so  much  for  the  lot  and  when 
the  lot  consists  of  one  or  more  volumes  of  books  or  objects  of  art,  the  bid  per  volume 
or  piece  should  also  be  stated.  If  the  one  transmitting  the  order  is  unknown  to  the 
Association,  a  deposit  should  be  sent  or  reference  submitted.  Shipping  directions 
should  also  be  given. 

Priced  copies  of  the  catalogue  of  any  sale,  or  any  session  thereof,  will  be  furnished 
by  the  Association  at  a  reasonable  charge. 

AMERICAN  ART  ASSOCIATION 
American  Art  Galleries 

Madison  Square  South 

New  York  City 


FOREWORD 


AS  most  of  the  collectors  of  Japanese  prints  know,  the  Messrs.  Spaulding 
in  forming  their  great  collection,  which  is  probably  unrivalled  by 
any  other  that  has  ever  been  gathered,  had  to  buy  several  smaller 
collections  en  bloc  in  order  to  secure  the  supreme  impressions  of  many  of 
the  finest  works  of  the  Ukiyoe  masters  that  give  the  collection  such  unique 
distinction.  In  this  way  they  acquired  a  large  number  of  duplicates  and 
some  other  prints  which  for  one  reason  or  another  it  does  not  seem  worth 
while  for  them  to  retain.  These  prints  are  now  offered  for  sale.  Naturally 
they  vary  considerably  in  quality  and  condition,  but  among  the  duplicates 
there  are  many  that  are  so  fine  that  it  was  very  difficult  to  choose  between 
them  and  the  impressions  that  have  been  placed  in  the  collection.  To 
specify  these  in  detail  would  unduly  extend  this  foreword,  and  it  does  not 
seem  necessary,  as  in  describing  the  prints  an  attempt  has  been  made  to 
give  information,  so  far  as  can  be  done  in  a  few  words,  that  will  serve  as  a 
guide  to  intending  buyers.  Allowance  should  be  made,  however,  for  the 
fact  that  opinions  as  to  quality  and  condition  may  differ,  and  that  to  record 
all  of  the  innumerable  gradations  that  are  found  in  an}^  lot  of  prints  would, 
if  it  were  possible,  require  much  more  extended  descriptions  than  can  be 
crowded  into  an  auction  catalogue. 

Among  the  more  noteworthy  prints  that  are  here  offered  for  sale  are 
several  fine  primitives,  and  choice  works  by  Harunobu,  Koryusai,  Kiyonaga, 
Shigemasa,  Shuncho,  Shunsho,  Shunko,  Shunyei,  Utamaro,  Eishi,  Toyokuni, 
Kunimasa,  Hokusai,  Hiroshige,  and  other  masters.  These,  which  include 
impressions  of  many  well-known  and  much  admired  prints,  speak  for  them¬ 
selves.  Attention  may  be  called,  however,  to  the  remarkable  showing  of 
prints  by  the  Utagawa  artists  of  the  nineteenth  century,  which  formed  a 
part  of  the  collection  of  Professor  Ernest  F.  Fenollosa.  In  gathering  them 
he  made  a  special  effort  to  secure  unusual  specimens  of  the  work  of  these 
artists  which  should  represent  them  at  their  best.  How  well  he  succeeded 
the  prints  included  in  this  sale  will  show. 

All  of  the  prints  here  offered  for  sale  have  been  subjected  to  careful 
scrutiny  and  it  is  believed  that  among  them  there  is  not  a  modern  re-engrav- 

5 


ing  nor  a  print  that  has  been  revamped  by  overprinting.  If,  however,  the 
purchaser  of  any  lot  should  discover  that  it  is  a  modern  re-engraving  or 
that  it  has  been  revamped,  the  sellers  stand  ready  to  take  it  back  at  the 
price  paid.  This  guaranty  does  not  extend  to  the  early  re-engravings  that 
are  catalogued  as  such. 

Frederick  W.  Gookin. 


6 


INDEX 


Buncho  (Ippitsusai) .  627,  628 

Eiri . 411 

Eiri  (Rekisentei) .  597,  598 

Eisen  (Keisai) .  342-348 

Eisen  and  Hiroshige,  Ivisokaido  Series .  323-341 

Eishi  (Hosoda) .  224-242 

Eisho  (Chokosai) . 412-419a 

Eizan  (Kikugawa) .  97-104,  649 

Harunobu  (Suzuki) .  18-22,  191-195,  391-395,  623-626 

Hiroshige  (Utagawa),  Chushingura . 695 

Edo  Kinko  Hakkei . 125-127 

Edo  Meisho .  538-544,  710 

Fishes . ,  ...  696-702 

Harbors  of  Japan .  553-555 

Honcho  Meisho . 105-106 

Kanazawa  Hakkei . 128-130 

Koto  Meisho .  545-551 

Koto  Shokei . 552 

Ivwacho  .  172-184,  381-390,  556-567,  732-746 

Kyoto  Meisho . 107-112 

Miscellaneous .  703-709 

Naniwa  Meisho . 113-116 

Omi  Hakkei . 119-124 

One  Hundred  Edo  Views . 711-731 

Roku-ju-yo  Shu .  321,  322 

Six  Tama  Rivers . 156-164 

Sumida  River  in  Winter  (triptych) . 747 

Thirty-six  Views  of  Fuji  . 313-320 

Tokaido.  Upright  Series  .  .  .  165-171 

First  “  .  .  286-309 

Half  block  “  . 310 

Quarter  block  “  ...  311,312 

E-Tatsu  “  ...  509-522 

Maru-Sei  “  ...  523-536 

Toto  Meisho .  131-155,537 

Hiroshige  and  Eisen,  Ivisokaido  Series .  323-341 

Hiroshige  and  Kunisada,  Two-brush  Tokaido  Series  .  .  .  449-462,  680-693 

Hokuba  (Teisai) .  501-503 

Hokusai  (Katsushika),  Bridges .  489-494 

Hyakunin  Isshu  (100  Poems)  ....  495-500 

Miscellaneous  ....  349-353.  378-380,  650,  651 

Thirty-six  Views  of  Fuji  ....  354-377,  652-676 

7 


Kiyomasu  (Torii)  . 5 

Kiyomitsu  “  14-17 

Iviyonaga  “  . (‘.9-78,  205-214,  401-410,  583-596 

Kiyonobu  I  “  4 

Kiyonobu  II  “  10-13 

Koryusai  (Isocla) .  34-42,  196-204,  396-400,  569-5S0 

Ivunichika  (Ichiosai ) . 448 

Kunimaru  (Utagawa) .  445,  446 

Ivunimasa  “  .  . 568 

Kunimitsu  “  428 

Kuninaga  “  442 

Kuninao  “  441 

Kunisada  “  .  269-285,  463-467 

Kunisada  and  Hiroshige,  Two-brush  Tokaido  Series  .  .  .  449-462,  680-693 

Kuniyasu  (Utagawa) .  443,  444 

Kuniyoshi  “  185-190 

Kyukoku . 447 

Masanobu  (Kitao) . 31-33 

Masanobu  (Okumura) . 6,  7 

Moronobu  (Hishikawa) . 1-3 

Ryukoku  (Shunkyosai) . 648 

Sadafusa  (Gofutei) .  439,  440 

Sadahide  (Utagawa) . 438 

Shigemasa  (Kitao) . 23-30 

Shigenobu  (Yanagawa) . 677 

Shikimaro . 622 

Shuclio  (Tamagawa) . 599 

Shuneho  (Katsukawa) . 215-223 

Shunjo  “  629-631 

Shunko  “  468-488 

Shunman  (Kubo) .  243-245 

Shunsen  (Katsukawa) .  435-437 

Shunsho  “  .  43-68,  246-268 

Shuntei  “  434 

Shunyei  “  632-647 

Shunzan  “  430-433 

Taito  (Katsushika)  .  678,  679 

Tanka . 694 

Toyoharu  (Utagawa) . 581 

Toyohiro  “  504-508 

Toyokuni  I  “  .  79-96,  420-429 

Toyonobu  (Ishikawa . 8,  9 

Uchimasa . 582 

Utamaro  (Kitagawa) .  600-619 

Utamaro  II  (Baigado) .  620-621 


CATALOGUE 


FIRST  SESSION 

WEDNESDAY  EVENING,  NOVEMBER  16,  1921 


AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  8:00  O’CLOCK 

Catalogue  numbers  1  to  250 


No.  l 


HISHIKAWA  MORONOBU 

The  first  of  the  print  designers.  Born  about  1625;  died  1695. 

Three  Kyoto  Views.  The  prints  of  this  series  were  issued  in  two  forms, 
i.  e.,  as  single  sheets,  or,  joined  together  end  to  end  and  folded  to  form  orihon, 
or  albums.  They  were  printed  in  black  only  and  for  the  most  part  appear  to 
have  been  sold  as  sunii-e  or  ink  prints,  but  a  few  impressions  had  a  little  color 
applied  by  hand.  How  many  subjects  comprised  the  series,  the  writer  of  this 
catalogue  has  not  learned. 


11 


12 


5 

j> 


First  Evening 


1 


Kiyomizu  Dera.  “Clear- water  Buddhist  Temple.”  Two  men  and 
as  many  women  strolling  about  the  grounds  looking  at  the  cherry 
trees  in  bloom.  Sumi-e.  Not  signed. 

Size,  10H  x  16%  inches.  Good  impression,  in  good  condition.  See 


/ 


illustration. 


9 


A  Temple  in  Kyoto.  A  bird’s-eye  view  of  a  Buddhist  temple.  Within 
the  enclosure  a  priest  is  walking  toward  the  gate  followed  by  serv¬ 
ants  bearing  his  luggage:  outside  three  mendicant  monks  are 
soliciting  alms  from  a  samurai  who  approaches  them  attended  by 
two  yakko.  Sumi-e.  Not  signed,  but  bears  the  imprint  of  the 
publisher,  Yamagata-ya,  of  Tori  Abura  Cho,  Edo. 

Size,  11  x  16%  inches.  Good  impression,  in  very  good  condition. 


3  A  Tea-House  on  a  Cliff.  People  are  grouped  upon  the  veranda  or 
walk  about  viewing  the  scenery.  Sumi-e,  slightly  colored  by  hand 
with  tan.  Not  signed. 

Size,  liysx  Id %  inches.  Good  impression;  slightly  toned  and  some¬ 
what  soiled. 


TORII  KIYONOBU  I 


Son  of  Torii  Kiyomoto.  Personal  name  Torn  Shobei.  Born  1664;  died 
August  22,  1729. 


4  The  First  Bando  Hikosaburo  as  Nuregami  Chogoro.  He  is  represented 
standing  near  the  veranda  of  a  dwelling,  the  shoji  pushed  aside 
giving  a  view  of  the  interior  behind  him.  Hand-colored  print 
(Urushi-e).  Signed,  Torii  Kiyonobu. 

Size,  12x5 %  inches.  Fine  impression.  In  very  good  condition  save 
for  a  few  moth  holes. 


TORII  KIYOMASU 

Eldest  son  of  Torii  Kiyonobu  I,  whom  he  succeeded  as  the  head  of  the  Torii 
line.  Date  of  birth  unknown;  died  January  4,  1764- 

5  Scene  from  a  Drama.  Takinaka  Utagawa  in  the  role  of  O-Some; 
Asao  Wakanojo  as  her  lover  Hisamatsu,  who  is  seated  by  a  hibachi 
while  she  stands  beside  him  holding  a  letter.  Urushi-e.  Signed, 
Torii  Kiyomasu. 

Size,  12  x  -57/g  inches.  Good  impression,  in  fair  condition. 

/O'  ’ 


13 


First  Evening 


OKUMURA  MASANOBU 


Reputed  a  pupil  of  Torii  Kiyonobu,  but  tutelage  not  certainly  known. 

Personal  name  Okumura  Genpachi.  Born  about  1685;  died  March  29,  1768. 

6  Koshi  Shikoden.  Portrait  of  the  koshi,  i.  e.,  story-teller  Shikoden, 

a  famous  character  in  his  day.  He  is  shown  seated  at  a  low  table, 
with  his  left  arm  uplifted  as  he  entertains  his  auditors.  In  his 
right  hand  he  holds  a  hyoshigi,  a  wooden  gavel  which  he  used  to 
call  attention  to  points  he  wished  to  emphasize.  Signed,  Hoget- 
sudo,  Hashira-e  ne  moto  (pillar-print  originator)  Okumura  Bunkaku 
Masanobu  Sho-hitsu  (true  brush).  Seal,  Tanchosai.  This  is  one 
of  two  portraits  of  Shikoden  that  were  drawn  by  Masanobu  and 
engraved  as  pillar  prints.  The  other  one  is  reproduced  in  the 
catalogue  of  a  sale  at  Sotheby’s  in  London,  on  June  23,  1913. 

Very  tail  hashira-e.  Size,  88%  x  6%  inches.  Good  impression,  in 
good  condition  . 

7  The  Second  Bando  Hikosaburo  as  a  youth  in  komuso  attire  standing 

in  a  garden  where  chrysanthemums  growing  beside  a  bamboo 
trellis  are  in  bloom.  He  is  lifting  his  basket  hat  so  as  to  expose 
his  face  to  view.  Beni-e.  Signed,  Hogetsudo,  Okumura  Bunkaku 
Masanobu. 


Size,  11  %x  5%  inches.  Late  impression  from  worn  blocks.  Fair 
condition . 


ISHIKAWA  TOYONOBU 


Pupil  of  Nishimura  Shigenaga.  Early  name  Magosaburo.  First  studio 
name  Nishimura  Shigenobu.  Later  used  the  names  Meijodo  Shuha,  Tanjodo, 
and  Ishikaica  Toyonobu.  Born  1711;  died  June  16,  1785. 


8  After  the  Bath.  Full-length  figure  of  a  woman  Avith  a  bathrobe 
loosely  Avrapped  about  her.  A  very  rare  and  important  hand- 
colored  print.  Signed,  Tanjodb,  IshikaAva  Shuha  Toyonobu. 
Seals,  Ishikawa  and  Toyonobu. 

Hashira-e.  Size,  26%  x  6 %  inches.  Fine  impression,  in  fair  con¬ 
dition  for  a  large  primitive  print.  See  illustration. 


From  the  collection  of  Ernest  F.  Fenollosa. 


First  Evening 


Iffi/a )  >■/:'„ 

— 


9 


A  Youth  Holding  a  Small  Lantern.  In  his  other  hand  he  holds  an 
uchiwa  (round  fan)  bearing  the  mon  of  the  1st  Sanokawa  Ichimatsu 
and  the  print  may  represent  that  popular  actor  in  one  of  his  wakashu 
roles.  By  Japanese  connoisseurs  the  rhythmic  quality  of  the  line 
composition  in  this  print  is  greatly  admired  and  they  regard  it  as 
one  of  Toyonobu’s  most  important  works.  Signed,  Tanjodo, 
Ishikawa  Shuha,  Toyonobu.  Seals,  Ishikawa  and  Toyonobu. 

Hand-colored  hashira-e.  Size,  25%  x  5%  inches.  Fine  impression, 
much  browned,  bid  otherwise  in  fine  condition.  See  illustration. 

From  the  collection  of  Frederick  W.  Gookin. 


TORII  KIYONOBU  II 


.4  pupil  of  Kiyonobu  I  concerning  whom  little  is  definitely  known  save  that 
he  worked  from  about  1730  until  about  1758.  Although  the  excellence  of  the 
prints  designed  by  him  clearly  shows  that  he  teas  a  worthy  successor  of  the  first 
Kiyonobu  the  fact  that  he  is  not  mentioned  in  the  Torii  family  records  indicates 
that  his  assumption  of  the  Kiyonobu  name  was  not  authorized  by  Kiyomasu 
who,  after  the  death  of  his  father  in  1729,  became  the  head  of  the  family  and  of 
the  Torii  line  of  artists. 


10 


The  Second  Ichikawa  Danjuro  in  Shibaraku.  To  appear  in  Shibaraku 
at  the  kaomise  performance — the  great  event  of  the  theatrical  year, 
of  which  (though  usually  held  in  the  eleventh  month)  it  was  the 
beginning — was  the  exclusive  privilege  of  the  Danjuros  in  the 
theatres  where  they  were  acting.  Two  actors  took  part  in  the  act. 
One,  known  as  the  uke  or  receiving  partner  came  forward  from  the 
rear  of  the  audience  along  the  hanamichi  or  flower-walk,  toward  the 
stage,  when  the  great  actor  appeared  following  him  and  called  out 
“Shibaraku,”  i.  e.,  “Wait  a  minute.”  Then  he  proceeded  to  enact 
a  pantomime  or  to  give  a  soliloquy  of  his  own  composition,  usually 
a  play  upon  words  abounding  in  witty  sallies  and  accompanied 
by  appropriate  action  and  facial  expression. 

In  this  print  the  second  Danjuro,  then  calling  himself  Ichikawa 
Ebizo  is  shown  as  Shinozuka  Iga-no-kami  in  Shibaraku,  in  the 
drama  “Hyaku-manki  Tsuwamono  Taiheiki,”  the  kaomise  play 
at  Nakamura  za,  11th  month  Horeki  3,  i.  e.,  December  1753. 

Printed  in  beni,  Indian  red,  and  black.  Signed,  Torii  Kiyonobu. 

Size,  12%  x  5 %  inches.  Late  impression,  touched  up  with  water  color 
where  the  block  for  the  Indian  red  failed  to  print  at  the  edges. 


First  Evening 


16 


^EpfC  Y  '/'A  - 

11  Scene  from  a  Sugawara  Play.  Ichimura  Karnezo  (afterward  the  ninth 

Uzaemon)  as  Matsuomaru,  and  the  second  Bando  Hikosaburo  as 
Arakizaemon.  The  action  takes  place  by  the  torii  of  a  Shinto 
shrine  about  which  black  thunder-clouds  (conventionally  rendered) 
are  floating.  Beni-e.  Signed,  Torii  Kiyonobu. 

Size,  11%  x  5%  inches.  Good  impression,  in  good  condition  save  for 
the  fading  of  the  herd. 

From  the  collection  of  J.  Clarence  Webster. 

12  Scene  from  a  Drama.  The  first  Segawa  Kikunojo  as  a  woman  standing, 

holding  a  letter  in  her  upraised  left  hand;  the  second  Nakamura 
Shichisaburo  as  a  samurai  seated  at  her  feet,  holding  an  open  letter 
and  looking  up  at  her.  Beni-e.  Not  signed.  The  attribution  to 
the  second  Torii  Kiyonobu  is  tentative. 

Size,  8}- 8  x  5%  inches.  Trimmed  at  head  and  foot  and  much  faded. 

13  The  First  Sanokawa  Ichimatsu.  This  actor,  who  plaved  in  Edo  from 

(  '  1741  until  his  death  in  1762,  owed  much  of  his  popularity  to  his 

good  looks.  He  usually  played  young  men’s  roles,  but  occasionally 
essayed  women’s  roles  and  even  leading  roles  of  entirely  different 
character  such  as  that  of  Soga  no  Goro.  He  is  here  represented 
as  a  young  man  birdseller,  standing  beside  two  large  birdcages 
and  the  pole  he  uses  in  carrying  them,  which  rest  on  the  ground 
near  a  dwelling.  Beni-e.  Signed,  Torii  Kiyonobu,  but  the  sig¬ 
nature  is  so  nearly  trimmed  off  at  the  left  that  very  little  of  it  shows. 

Size,  11%  x  5%  inches.  Trimmed  from  about  12x6  inches.  Good 
impression.  The  beni  is  very  much  faded. 

TORII  KIYOMITSU 

Second  son  of  Kiyomasu,  and  third  head  of  the  Torii  line.  Born  1735; 
died  May  3,  1785. 

14  Scene  from  a  Drama.  Ichikawa  Raizo  and  Arashi  Sankatsu  as 

Miura-no-suke  and  Tamamo-no-mae  in  “Tamamo-no-mae  Katsura 
no  Mayuzumi,”  at  Nakamura-za,  in  July  or  August  1762.  Sankatsu 
was  an  Osaka  actor  who  went  to  Edo  in  January  1762  for  a  short 
time  only.  Printed  in  beni,  blue,  yellow,  and  black.  Signed, 
Torii  Kiyomitsu. 

Size,  10%  x  5%  inches.  Good  impression,  in  good  condition. 


17 


F irst  Evening 


If'  '  '  ■>— - 

‘ 

15  An  Actor  of  Women’s  Roles.  Nakamura  Tomiji  as  a  woman  standing 
beside  a  stone  chozubachi  (cistern)  over  which  a  nobleman’s  coat 
is  flung.  She  flourishes  a  broken  mirror  to  drive  away  two  crows 
that  are  flying  about  her  head.  Printed  in  beni,  blue,  yellow,  and 
black.  Signed,  Torii  Kiyomitsu. 

Size,  12%  x  5%  inches.  Late  impression  from  worn  blocks.  In  good 
condition . 

10  Sakata  Sajuro  as  Omoti  Hikoshichi.  Sajuro  played  this  role  in  the 
autumn  of  1767  at  the  Morita  theatre,  in  the  drama  “Kusunoki.” 
He  is  depicted  as  a  samurai  flourishing  a  white  banner.  His 
clothes  above  his  waist  are  thrown  off,  exposing  the  upper  part  of 
his  body,  which  is  painted  a  deep  red,  as  his  face  and  legs  are  also. 
Signed,  Torii  Kiyomitsu. 

Size,  12%  x  d %  inches.  Good  impression ,  slightly  stained. 


17  Scene  from  a  Kaomise  Play.  The  ninth  Ichimura  Uzaemon  as  Mako- 
mo-no-mae,  a  court  lady  standing,  holding  a  bunch  of  iris  flowers;  the 
second  Sawamura  Sojuro  as  Yorimasa,  wearing  the  white  garment 
of  a  toneri,  or  nobleman’s  personal  attendant,  seated  at  her  feet ; 
as  they  appeared  in  “Nue  Shigeto  Sakiwake  Yusha  ”  the  kaomise 
play  at  Ichimura-za,  December  1767.  Signed,  Torii  Kiyomitsu. 

Size,  11%  x  5%  inches.  Ordinary  impression;  faded . 

SUZUKI  HARUNOBU 


Pupil  of  Nishimura  Shigenaga.  Born  about.  1730;  died  July  7,  1770. 


The  Hitotsumon.  A  young  woman  going  to  a  public  bathhouse 
attended  by  a  girl  carrying  her  bathrobe  tied  in  a  bundle.  The 
little  badge  (hitotsumon)  of  kiri  leaves  and  flowers  that  appears 
upon  the  woman’s  kimono  is  repeated  on  a  larger  scale  to  form  the 
pattern  upon  the  girl’s  kimono.  Above  the  blue  umbrella  carried 
by  the  woman  is  the  hokku,  or  ode  of  seventeen  syllables: 

Shimero  yare 
Sakari  no  hana  no 
Hitotsumon. 

That  is,  “To  take  hold  of  flowers  in  full  bloom,  catch  this  hitotsu 
mon.”  Signed,  Suzuki  Harunobu. 

Size,  12x5%  inches.  Late  impression,  slightly  soiled. 


First  Evening 


18 


i 


19  Three  Mizu-e.  (A)  A  nobleman  standing  near  a  willow  tree  on  the 
bank  of  a  winding  stream,  in  an  autumn  gale.  (B)  A  nobleman 
attended  by  a  youth,  standing  on  the  shore  of  the  bay  at  Miho- 
no-Matsubara,  with  his  hands  uplifted  in  prayer  as  he  gazes  at  the 
cone  of  Mt.  Fuji  rising  above  the  clouds  that  cover  its  base.  (C)  A 
Buddhist  priest  standing  on  the  veranda  of  a  building  extending 


No.  20 

over  the  water  of  a  lake,  contemplating  lotus  flowers  growing  in 
the  water  below.  Each  is  an  illustration  of  a  classic  ode,  which, 
with  a  portrait  of  the  poet,  appears  above.  Each  signed,  Suzuki 
Harunobu. 

Mizu-e,  or  water  prints,  is  the  term  used  to  designate  one  of 
the  experiments  that  led  to  the  invention  of  full  color  printing  in 
1764.  The  signification  of  the  term  is  not  clear,  unless  it  indicates 
that  little  or  no  rice  paste  was  mixed  with  the  colors,  which,  for 
some  reason,  faded  rapidly. 

Size,  about  llj^xd  inches  each.  Good  impressions,  but  much  Jaded. 


19 


First  Evening 


20  Izutsu-hirne  at  the  Window.  The  subject  of  this  picture  is  a  mitate-e 
or  transformed  presentation  of  a  well-known  incident  related  in 
the  Ise  Monogatari.  “The  man,”  supposed  to  be  the  poet  Narihira, 
when  he  reached  his  own  dwelling  on  his  return  from  his  Eastern 
journey  during  which  he  had  many  amatory  affairs,  hid  behind 
the  sleeve-fence  to  discover  whether  his  wife  Izutsu  had  been 


No.  22 


faithful  to  him  during  his  absence.  Scarcely  had  he  secreted 
himself  when  she  appeared  at  a  window  and  recited  an  ode  extolling 
the  virtue  of  her  absent  husband  and  praying  for  his  return. 
Harunobu  presents  a  modern  instance,  showing  young  people  of 
his  day  instead  of  the  ninth  century  nobleman  and  his  wife.  Signed, 
Harunobu. 

Size,  ll}zix8x§  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 

From  the  collection  of  Frederick  W.  Gookin.  From  the  time  of 
its  publication  until  1907,  when  it  was  acquired  by  Mr.  Gookin,  it 


First  Evening 


20 


was  preserved  in  the  collection  of  the  Daikokuya  publishing  house 
in  Tokyo,  by  which,  in  all  probability,  it  was  issued  in  or  about 
1766. 

21  At  the  Theatre.  A  youth  and  two  women  in  a  sajiki,  or  box,  at  a 

theatre.  The  name  of  the  theatre  does  not  appear.  The  lanterns 
are  inscribed  “Korai-ya,”  probably  the  name  of  a  tea-house  attached 
to  the  theatre.  Not  signed. 

Size,  M  x  8ys  inches.  Fine  impression,  somewhat  faded  and  has  a 
Jew  mildew  spots. 

22  The  Sugoroku  Players.  Two  girls  playing  sugoroku,  a  game  resembling 

backgammon,  and  a  wakashu  (young  man)  in  woman’s  clothing 
seated  by  them  and  looking  on.  In  the  rear  wall  of  the  room  is  a 
large  ornamental  window  with  the  shoji  pushed  aside  and  leaves 
of  a  banana  plant  appearing  in  the  opening.  On  the  gray  fusuma 
forming  the  wall  of  the  room  at  the  left  is  a  landscape  painted  in 
sumi,  and  the  signature  of  the  artist,  Suzuki  Harunobu. 

Size,  10%x8fi  inches.  Good  impression,  in  fine  condition.  See 
illustration. 

From  the  collection  of  J.  Clarence  Webster. 

KITAO  SHIGEMASA 

Pupil  of  Nishimura  Shigenaga.  Personal  name  Kitao  Sasuki.  Famous 
as  a  calligrapher  as  well  as  a  painter.  In  his  later  years  used  the  studio  name 
Kosuisai.  Born  1739;  died  March  8,  1820. 

23  Ichikawa  Raizo  as  Abe  no  Seimei.  Raizo  played  this  role  in  the  drama 

“Azuma  no  Hana  Soma  dairi”  at  Nakamura-za  at  kaomise,  about 
the  end  of  November  1764.  He  is  shown  standing  near  a  pine 
tree  and  holding  a  fortune-telling  book  in  his  hand.  Printed  in 
beni,  violet,  j^ellow,  and  black.  Signed,  Kitao  Shigemasa. 

Size,  121/ s  x  5%  inches.  Late  impression,  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

24  A  Famous  Actor  of  Women’s  Roles.  Nakamura  Matsue  as  Yaegaki- 

hime  in  the  drama  “Sugawara  Denju  Tenarai  Kagami”  at  the 
Nakamura  theatre,  June  1764.  Printed  in  beni,  blue,  yellow,  and 
black.  Signed,  Kitao  Shigemasa. 

Size,  1 1 x  5 inches.  Late  impression  from  worn  blocks.  Good 
condition . 


21 


First  Evening 


>)(jui  a 


25  A  White  Falcon.  The  attribution  of  this  print  to  Shigemasa  is  not 

made  by  the  writer  of  this  catalogue,  and  is  in  the  nature  of  a 
surmise.  The  bird’s  plumage  is  rendered  by  gauffrage.  The 
print  is  a  calendar  for  the  cock  year  1765.  The  numerals  for  the 
“Dai”  or  “large”  months  appear  upon  the  bird’s  breast.  Not 
signed. 

Size,  4Ys  x  4%  inches.  Faded. 

26  Momotaro  Making  Dango.  The  story  of  the  “Little  peachling” 

Momotaro  is  too  well  known  to  be  recounted  here.  The  print 
illustrates  a  scene  in  the  house  of  his  foster-parents  who  are  en¬ 
gaged  in  grinding  rice  flour,  and  rolling  it  into  dumplings  that  Momo¬ 
taro  is  threading  upon  a  string.  Series:  Momotaro  Monogatari. 
Signed,  Kitao  Shigemasa. 

Size,  8%x5%  inches.  Good  impression,  in  good  condition. 

27  A  Tsuzumi-player  Doll.  This  print  depicts  one  of  the  Gonin  Bayashi, 

symbolical  dolls  representing  the  five  court  musicians  which  are 
set  out  with  dolls  representing  the  Emperor  and  Empress  in  the 
formal  arrangement  of  the  hina-dana  (doll  shelves)  for  the  Hina 
Matsuri  or  Doll  Festival  on  the  third  day  of  the  third  month. 
Not  signed. 

Size,  UY  x  5 Yi  inches.  Fine  impression,  in  good  condition. 

28  An  Uta-daiko-player  Doll.  This  print  and  the  next  lot  are  from  a 

larger  set  of  the  Gonin  Bayashi.  The  uta-daiko  is  a  small  drum 
called  the  song-drum  as  it  is  often  used  as  an  accompaniment  to 
singing.  Not  signed. 

Size,  14%  x  10%  inches.  Good  impression,  in  good  though  not  perfect 
condition. 

Formerly  in  the  collection  of  Hiromichi  Shugio  of  Tokyo. 

29  A  Yokobue-player  Doll.  One  of  the  finest  prints  of  the  series.  It 

displays  Shigemasa’s  masterful  brush  strokes  to  great  advantage. 
Not  signed. 

Size,  1 4%  x  10%  inches.  Fine  impression,  and  the  figure  is  in  fine 
condition,  hut  has  been  cut  out.  and  inlaid  on  a  sheet  of  old  gray  paper. 

30  Gompachi  and  Komurasaki.  Gompachi,  whose  face  has  a  dejected 

expression,  stands  on  a  veranda,  and  Komurasaki  looks  down  upon 
him  from  the  other  side  of  a  bamboo  railing.  Not  signed.  This 


D 


First  Evening 


22 


print  is  commonly  attributed  to  Kitao  Masanobu,  but  the  writer 
of  this  catalogue  thinks  it  may  with  more  probability  be  attributed 
to  Shigemasa.  It  cannot  be  later  in  date  than  1778,  when  Masa¬ 
nobu  was  aged  only  seventeen.  His  known  works  are  all  a  little 
later  than  that  and  it  was  his  custom  to  sign  them,  whereas  Shige¬ 
masa  did  not  as  a  rule  sign  the  prints  he  designed  during  the 
An-ei  period. 

Hashira-e.  Size,  24lAxfA  inches.  Ordinary  impression,  somewhat 
browned. 


KITAO  MASANOBU 

Pupil  of  Shigemasa.  Personal  name  Iwase  Haida.  In  his  thirtieth  year 
gave  up  print  designing  to  devote  himself  to  literary  work.  Became  famous  as 
a  writer  of  comic  odes  and  of  novels  under  the  name  of  Santo  Kyoden.  Born 
1761,  died  1816. 

31  Geisha  and  Nakai.  Two  geisha  on  their  way  to  keep  a  professional 

engagement  accompanied  by  a  nakai  (maid)  bearing  a  samisen 
box  and  a  bundle  of  night  clothes  which  is  so  heavy  that  it  causes 
her  to  bend  far  over  as  she  walks.  Series,  Tosei  En-fu  Ju  Kei  Zu, 
i.e.,  “Ten  styles  of  modern  beauties.”  Signed,  Kitao  Masanobu. 
Size,  10Ax7fi  inches.  Ordinary  impression,  slightly  toned. 

32  Two  Geisha  Walking  in  a  Garden.  Series,  Geiko  Iro-kurabe,  i.e., 

“Styles  of  Geiko,”  otherwise  Geisha.  Signed,  Kitao  Masanobu. 
Size,  10x7  A  inches.  Ordinary  impression,  in  fair  condition. 

33  Matsuchiyama  no  Seiran.  “The  evening  glow  at  Matsuchi  hill  ” 

This  is  the  artist’s  title  but  the  reference  is  not  obvious,  for  the 
print  depicts  two  women  on  the  veranda  of  a  dwelling,  one  standing 
and  turning  to  speak  to  her  companion  who  is  washing  her  hands 
in  a  stream  of  water  flowing  from  the  spout  of  a  kettle  resting  on 
the  chozubachi.  Series,  Sumidagawa  Hakkei.  Signed  Kitao 
Masanobu. 

Size,  lOAxIfi  inches.  Fine  impression.  Toned,  but  in  good  con¬ 
dition  otherwise. 


23 


First  Evening 


ISODA  KORYUSAI 

Pupil  of  Shigenaga,  then  of  Harunobu.  Of  samurai  rank.  Personal 
name  Isoda  Masakatsu.  Earliest  studio  name  Haruhiro.  Dates  of  birth  and 
death  unknown.  Worked  as  a  print  designer  from  1768  to  1786,  though  only 
a  few  of  his  prints  were  published  after  1780. 


34 


P 


No.  34 

Utsubo-zaru.  Literally  this  title  signifies  “The  Monkey’s  Quiver.” 
The  picture  represents  one  of  the  farces  called  Kyogen  that  were 
enacted  in  connection  with  the  classical  No.  One  of  the  per¬ 
formers,  who  is  made  up  to  represent  a  monkey,  holds  a  staff 
trimmed  with  the  cut-paper  Shinto  emblems  called  gohei;  the  other 
represents  a  noble  youth.  Both  are  capering  about,  the  action 
being  largely  of  the  character  of  a  mimetic  dance.  Surimono  for 
the  monkey  year  1775.  Series,  Furyu  Kyogen  Asobi,  i.e.,  “Fanciful 
Kyogen  Plays.”  Signed,  Koryusai. 

Size,  x  7 hi  inches.  Fine  impression,  in  good  condition.  See 
illustration. 


First  Evening 


24 


35  An  Oiran  Reading  a  Book.  She  is  seated  at  a  low  table.  Another 

woman  stands  behind  her  with  her  arm  about  the  frame  of  a  screen 
over  which  a  brocade  garment  is  hung.  The  oiran  is  likened  to 
)  —  Oncho,  a  noble  Chinese  lady.  Signed,  Koryusai. 

Hashira-e.  Size,  28%  x  5  inches.  Fair  impression,  in  fine  condition, 
never  having  been  mounted  as  a  kakemono.  Very  few  pillar  prints  have 
been  preserved  in  this  condition. 

36  Helping  Her  on  Board.  A  boatman  assisting  a  young  woman  to 

board  his  craft.  Signed,  Koryusai. 

Hashira-e.  Size,  277/s  x  4%  inches.  Good  impression,  fair  condition. 

37  Seta  Sekisho.  The  evening  glow  at  Seta ;  two  young  women  standing 

upon  the  bridge.  Series,  Omi  Hakkei.  Signed,  Koryusai. 
Hashira-e.  Size,  27%  x  4%  inches.  Fine  impression,  browned. 

38  Girl  Attendant  at  the  Sensha  Archery  Gallery.  She  is  carrying  a  bowl 

of  tea  on  a  round  lacquer  tray.  Signed,  Koryusai. 

Hashira-e.  Size,  26%  x  4%  inches.  Fine  impression,  in  good  con¬ 
dition  except  near  the  top  where  several  holes  have  been  patched. 

39  Takegawa  and  Attendants.  An  oiran  attended  by  a  matron  and 

another  woman  walking  in  a  garden.  Series,  Furyu  Ryaku  Genji. 
Signed,  Koryusai.  An  early  work  in  the  style  of  Harunobu. 

Size,  9  x  6Y  inches.  Good  impression,  in  good  condition. 

40  Matsuzaka  Seiran.  “The  evening  glow  at  Matsuzaka.”  An  oiran, 

a  shinzo  and  a  kamuro  (girl  attendant)  in  the  parlor  of  a  house  on 
the  shore  of  Edo  bay.  Fishermen  in  boats  are  seen  through  a 
large  barred  window  before  which  the  women  are  grouped.  Series? 
Furyu  Nankei  Hakkei,  i.e.,  “Fanciful  Eight  Scenes  of  Nankei,” 
otherwise  Shinagawa,  a  suburb  of  Edo.  Signed,  Bu-Ko  Yagenbori 
Inshi  Koryu. 

Size,  10 x  7%  inches.  Ordinary  impression,  somewhat  faded  and 
toned. 

41  Sha.  This  title,  literally  “to  shoot”  signifies  by  connotation,  archery. 

The  print  depicts  a  young  man  visiting  an  archery  gallery.  Series, 
Ukiyo  Roku  Gei  Ryaku,  i.e.,  “Six  Popular  Arts.”  Signed,  Koryu. 
Size,  10%  x  7%  inches.  Good  impression;  good  condition. 

42  Hina  Matsuri.  The  doll  festival  on  the  third  day  of  the  third  month. 

A  man  and  a  woman  in  a  parlor  discussing  the  arrangement  of  the 


25 


First  Evening 


hina-dani  or  stand  upon  which  the  ceremonial  dolls  and  plates  of 
food  and  vases  holding  flowers  are  set  out.  Series,  Furyii  Ju-ni 
Setsu,  “Fanciful  Twelve  Months.”  Signed,  Koryu. 

Size,  10%  x  7h/ 8  inches.  Ordinary  impression;  somewhat  stained. 

KATSUKAWA  SHUNSHO 

Pupil  of  Miyagawa  Shunsui.  Born  1726;  died  January  22,  1798. 
Portraits  op  Actors  and  Scenes  from  Dramas.  Unless  otherwise 
noted  all  are  of  the  hosoe  size,  about  12%  x  6  inches,  are  signed  by  the  artist, 
and  are  good  impressions  in  fair  condition. 

43  Scene  from  a  Drama.  The  fourth  Ichikawa  Danjuro  as  Sanshodayu, 

and  Nakamura  Utaemon  as  Karashi-baba.  in  “Kawaranu  Hana 
Sakae  Hachinoki”  at  the  Nakamura  theatre,  December  1769. 
Late  impression. 

44  Scene  from  a  Drama.  The  fifth  Ichikawa  Danjuro  as  Soga  no  Goro 

and  the  first  Ichikawa  Komazo  as  Soga  no  Jiiro,  in  “Sakaicho  Soga 
Nendaiki”  at  Nakamura-za,  February  1771. 

45  The  Fifth  Ichikawa  Danjuro  in  the  role  of  Soga  no  Juro  in  “Hatsu 

Akebono  Niwatori  Soga”  at  the  Morita  theatre,  February  1772. 

46  The  Fifth  Ichikawa  Dan j uro  in  an  unidentified  role,  about  1774. 

47  Scene  from  a  Drama.  The  third  Ichikawa  Danzo  (middle),  the  fourth 

Bando  Matataro  (right)  and  Onoe  Matsusuke  (left).  Double-sheet 
illustration  from  a  book. 

Size,  7  x  10%  inches. 

48  The  Fourth  Ichikawa  Danjuro  in  an  unidentified  role. 

49  The  Fifth  Ichikawa  Danjuro  as  a  daimyo  holding  a  toy  bow  and  arrow. 

50  The  Fifth  Ichikawa  Danjuro  as  a  man  standing  on  the  bank  of  a 

stream  where  iris  are  in  bloom. 

51  The  Second  Ichikawa  Yaozo  in  an  unidentified  role. 

52  The  Second  Ichikawa  Yaozo  as  a  boatman  standing  on  the  bank  of 

a  river. 

See  illustration. 

53  The  Second  Ichikawa  Yaozo  as  an  otokodate. 


First  Evening 


26 


_ 


'J  <r 


0 


54  The  Second  Ichikawa  Yaozo  as  Sakuramaru  in  “Sugawara”  at  the 
Ichimura  theatre,  August  1776. 


55  The  Fourth  Matsumoto  Koshiro  as  a  samurai  holding  a  tsuzumi. 

56  The  Fourth  Matsumoto  Koshiro  as  an  otokodate  with  a  drawn  sword 

in  hand  standing  on  the  bank  of  a  river. 


No.  52 


The  Second  Ichikawa  Monnosuke  as  Soga  no  Goro  in  “Haru  no  Soga 
Akebono-goshi,”  at  Nakamura-za,  February  1772. 


58  The  Second  Ichikawa  Monnosuke  in  an  unidentified  role.  About  1774. 

59  The  Second  Nakamura  Sukegoro  as  a  yakko  holding  a  letter-box  by 

grasping  the  cord  between  his  teeth  as  he  stands  in  a  truculent 
attitude  near  a  fence  on  a  hillock. 


60  The  Second  Nakamura  Sukegoro  as  a  samurai  standing  in  a  truculent 
attitude  near  a  board  for  playing  the  game  of  go. 


27 


First  Evening 


The  Second  Nakamura  Sukegoro  in  the  role  of  Kaminari  Shokuro 
one  of  the  Gonin  Otoko  in  “Hatsu-monbi  Kuruwa  Soga”  at 
Nakamura-za,  February  1780. 

Condition  only  fair. 

The  Second  Nakajima  Mihoemon  (?)  as  a  samurai  in  a  truculent 
attitude  holding  a  rosary. 

The  Second  Nakajima  Mihoemon  (?)  as  a  yakko  standing  before  the 
mise  of  a  Yoshiwara  house. 

The  Second  Nakamura  Juzo  as  a  samurai  dressed  in  kamishimo  and 
holding  his  unsheathed  long  sword. 

The  Second  Arashi  Sangoro  as  (?)  Umeomaru  in  “Sugawara.” 

The  Second  Arashi  Sangoro  as  a  yakko  holding  a  box  of  rice  above 
his  head. 

The  Ninth  Ichimura  Uzaemon  as  a  noble  wearing  a  priest’s  robe  under 
his  kimono,  holding  a  koro  in  his  left  hand  and  in  his  right  and 
between  his  teeth,  a  rosary. 

The  Ninth  Ichimura  Uzaemon  in  the  role  of  Umeomaru  in  “Sugawara 
Denju  Tenarai  Kagami,”  at  Ichimura-za,  August  1776. 

TORII  KIYONAGA 

Pupil  of  Kiyomitsu,  whom  he  succeeded  as  the  fourth  head  of  the  Torii  line. 

Born  1752,  died  1813. 

69  Scene  from  a  Popular  Drama.  Nakamura  Matsue  as  Yao}n  O-Shichi, 
that  is  O-Shichi  the  grocer’s  daughter;  and  the  second  Ichikawa 
Monnosuke  as  her  lover  Ivichisaburo,  in  “Yaoya  O-Shichi  Koi  no 
Edozume”  at  the  Nakamura  Theatre,  August  1766.  Monnosuke 
was  then  known  as  Ichikawa  Benzo.  As  his  name  is  given  upon 
the  print  as  Monnosuke,  which  he  did  not  assume  until  December 
1770,  the  print  can  hardly  be  earlier  than  that  date  when  Kiyonaga 
was  eighteen  years  old,  unless,  as  is  probable,  it  is  a  reissue  with 
the  block  plugged  and  “ Monnosuke”  substituted  for  “Benzo.” 
In  that  case  it  must  have  been  drawn  when  Kiyonaga  was  only 
fourteen  and  if  so  it  may  be  his  earliest  print.  It  is  evidently 


First  Evening 


28 


-  ,  y  '  U  .  IA^ 

a  youthful  performance;  and  it  was  unusual  to  present  scenes  from 
plays  that  were  not  on  the  boards  when  the  prints  were  issued, 
and  most  unusual  to  present  a  scene  showing  two  young  and 
comparatively  unknown  actors  in  a  play  enacted  four  years  before 
the  date  of  publication.  Signed,  Torii  Kiyonaga.  Seal:  Kiyonaga. 
Size,  12\'i  x  5%  inches.  Late  impression,  much  faded. 


70 


I 


-1 


Ichikawa  Hakuyen  in  Shibaraku.  Hakuyen  was  the  literary  name 
of  the  second  Ichikawa  Danjuro.  His  “tsurane,”  or  speech  of  his 
own  composition,  delivered  at  a  kaomise  performance,  is  printed  on 
the  upper  part  of  the  sheet  which  it  covers  forming  a  background 
to  the  figure.  As  the  second  Danjuro  died  when  Kiyonaga  was 
six  years  old,  Kiyonaga  probably  used  a  drawing  by  Kiyomitsu  as 
his  model  when  designing  this  print.  Signed,  Torii  Kiyonaga. 

Size,  12}4  x5Y2  inches.  Good  impression,  in  good  condition,  save 
that  it  is  slightly  trimmed  at  the  right. 


71  Do  not  Forget  the  Kindness  of  Your  Parents.  In  what  way  the  print 

illustrates  this  maxim  is  not  obvious.  It  represents  a  man  seated 
by  a  bed  engaged  in  brushing  his  teeth.  An  oiran  stands  looking 
down  at  him  while  one  of  her  kamuro  brings  a  bowl  upon  a  round 
tray  and  the  other  is  seated  by  the  man  awaiting  his  commands 
Through  the  mise  in  the  background  falling  rain  is  seen.  Series, 
Onna  Imagawa,  the  title  of  a  book  of  moral  precepts  and  instruction 
in  etiquette  for  women.  Signed,  Kiyonaga. 

Size,  10x7)4  inches.  Ordinary  impression,  in  fair  condition. 

From  the  collection  of  J.  Clarence  Webster. 


72  You  Should  Understand  the  Ways  of  Women.  This  precept  is  illus¬ 
trated  by  a  matron  seated  on  a  veranda,  watching  a  woman  in  a 
black  zukin  (hood)  whispering  something  to  a .  maid  who  bends 
forward  and  turns  her  head  to  one  side  as  she  listens.  Series: 
Onna  Imagawa.  Signed,  Kiyonaga. 

Size,  10\i  x  7)4  inches.  Fine  impression,  in  good  condition. 

From  the  collection  of  J.  Clarence  Webster. 


< 


\ 


73  Yagura  Shita  no  Bansho.  “The  evening  bell  of  the  Fire  Step-ladder.” 
Two  young  women  and  a  maid  passing  a  great  water-bucket  with 
smaller  buckets  piled  above  it  for  use  in  case  of  fire.  Series: 


29 


First  Evening 


Fuzoku  Fukagawa  Hakkei,  i.e. ,  Popularized  Eight  Views  of 
Fukagawa.  Signed,  Kiyonaga. 


Size,  §  x  6 14  inches.  Good  impression,  in  fine  condition. 

74  Viewing  the  Bush  Clover  at  Hagi-dera.  Left-hand  sheet  of  a  diptych, 
or  possibly  a  triptych,  although,  so  far  as  the  writer  of  this  catalogue 


No.  74 


is  informed,  only  two  sheets  are  known.  This  sheet  shows  a 
young  man  wearing  the  formal  kamishimo,  seated  on  a  bench  at 
one  end  of  which  his  boy  attendant  respectfully  squats  down  as 
he  addresses  him,  while  a  tea-house  waitress  stands  by  his  side 
to  take  his  order  for  refreshments.  Signed,  Kiyonaga. 

Size,  1-FA  ■>'  inches.  Very  fine  impression.  Slightly  trimmed, 
hut  otherwise  in  nearly  perfect  condition.  See  illustration . 


First  Evening 


30 


75  Ashi  no  Yu.  “The  Ashi  hot  spring.”  Three  young  women  leaving 
the  bathhouse.  Series:  Hakone  Shichito  Meisho,  i.e.,  “The  Seven 
Famous  Hot  Springs  at  Hakone.”  Signed,  Kiyonaga. 

Size,  10 x/%  x  7%  inches.  Late  impression,  faded  and  somewhat  soiled. 

70  Washing  Day.  A  woman  washing  clothes  in  a  large  shallow  wash-tub 

\  placed  on  the  ground  in  the  garden  of  a  dwelling.  Another  woman 
is  raising  a  bamboo  pole  upon  which  a  kimono  has  been  hung  to 
dry;  and  a  small  boy  is  bending  over  the  tub  delightedly  watching 
the  manipulation  of  the  red  garment  that  is  being  washed.  Signed, 
Kiyonaga. 

Size,  10  x  7 x/i  inches.  Ordinary  impression,  browned. 


77  Kiku  Aki  Nochi  Zuki.  “The  moon  in  late  autumn.”  Two  women 
on  the  veranda  of  a  dwelling,  one  leaning  against  the  corner  post, 
the  other  preparing  to  dip  a  ladle  of  water  from  the  chozubachi. 
Series:  Shiki  Hakkei,  “Eight  Scenes  of  the  Four  Seasons.”  Signed, 
Kiyonaga.  About  1778. 

Size,  9%x  7 hi  inches.  Late  impression,  in  fair  condition. 


78 


A  Gay  Party  at  Shinagawa.  Left  hand  sheet  of  one  of  the  diptychs 
of  the  series  Minami  Ju-ni  Ko,  “The  Twelve  Months  in  the  South,” 
i.e.,  in  Shinagawa.  Signed,  Kiyonaga. 

Size,  15V8x10H  inches.  Ordinary  impression.  Torn  and  frayed  at 
the  edges,  otherwise  in  good  condition. 


UTAGAWA  TOYOKUNI 

Pupil  of  Toyoharu.  Personal  name  Gorobei  Kumakichi.  Born  1769; 
died  February  24,  1825. 


The  Main  Street  of  the  Yoshiwara  in  the  time  of  the  cherry  blossoming. 
Sheet  number  four  of  a  well-known  pentaptych  that  is  one  of 
Toyokuni’s  important  works. 

Size,  14%x9%  inches.  Good  impression,  not  in  very  good  condition. 


80  Matsukaze.  “ Wind-in-the-pines,”  the  title  of  one  of  the  chapters  of 
the  Genji  Monogatari,  of  which  the  print  is  an  illustration.  A 
court  lady  is  depicted  playing  a  koto  in  an  open  room  in  a  country 
house.  Printed  in  violet  and  tones  of  gray.  Signed,  Toyokuni. 

Size,  9x/i  x  inches.  Ordinary  impression;  fair  condition. 


31 


First  Evening 


_ 


(J 

81  Matsukaze  no  Kiban.  “  Wind-in-the-pines,  returning  sails.”  This 
fio  is  a  poetical  title.  The  print  depicts  Narihira  and  his  attendants 

on  the  sea  shore.  Signed,  Utagawa  Toyokuni. 

Size,  9%  x  7%  inches.  Good  impression;  good  condition. 


82  The  Fan  Shop.  Right-hand  sheet  of  the  well-known  triptych.  Not 

signed :  only  the  middle  sheet  bears  the  artist’s  signature. 

Size,  8  x  10\i  inches.  Ordinary  impression,  not  in  eery  good 
condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

83  Evening  Scene  in  a  Yoshiwara  House.  The  second  floor  of  Choji-ya, 
the  House  of  the  Clove.  Perspective  view  of  a  large  room,  the 
sliding  partitions  dividing  the  space  into  several  rooms  having 
been  removed.  In  the  middle  sheet  a  young  man  in  a  gray  kimono 
with  a  white  polka-dot  pattern  and  a  black  haori,  who  has  just 
arrived,  stands  talking  to  a  woman  who  is  seated  and  holds  a  cup 
of  sake.  Other  women  are  at  the  right  and  left,  and  a  man  servant 
is  coming  up  the  stairs  bearing  a  shimadai  with  good  luck  decora¬ 
tions.  Signed,  Toyokuni.  About  1790. 

Triptych.  Size,  14/4  x  30  inches.  Good  impression,  not  in  very  good 
condition. 


84  Making  a  Bride’s  Trousseau.  Scene  in  the  parlor  of  a  great  house, 
wrhere  eleven  women  are  busily  engaged  in  selecting,  measuring, 
and  cutting  cloth  and  making  it  up  into  garments.  Signed, 
Toyokuni.  About  1792. 

Triptych.  Size,  15x30  inches.  Fine  impression,  in  fine  condition, 
the  fading  of  the  purples  only  serving  to  increase  the  beauty  of  the  color. 


85  Three  Women  at  a  Shinto  Shrine.  Middle  sheet  of  a  triptych. 
Signed,  Toyokuni.  An  early  print  designed  when  the  artist  was 
aged  about  twenty  years. 

Size,  14/4  x  9J4  inches.  Good  impression,  slightly  toned  and  the  colors 
a  little  dulled. 


86  A  Monkey  Sanbaso  Dancer.  Two  women  and  a  girl  in  a  parlor  in  a 
great  house  viewing  the  antics  of  a  monkey  that  is  dressed  as  a 
Sanbaso  dancer.  The  room  is  open  at  the  back  giving  a  view  of 
an  extensive  garden  with  thick  woods.  Middle  sheet  of  a  triptych. 
Signed,  Toyokuni. 

Size,  lojfi  x  10  inches.  Good  impression,  in  fair  condition. 


First  Evening  32 

87  Narihira  Azuma  Kudari.  “  The  Eastern  Journey  of  the  Poet  Narihira,” 

a  mitate-e  or  transformed  presentation  with  women  substituted 
for  the  noblemen  and  his  attendants.  Right-hand  sheet  of  a 
triptych.  Signed,  Toyokuni. 

Size,  15%  x  10 34  inches.  Full  size.  Late  impression  in  fine  condition . 

88  Narihira  Azuma  Kudari.  Left-hand  sheet  of  the  same  triptych  as 

the  preceding  lot. 

Size,  14%x9%  inches.  Good  impression,  but  trimmed  and  otherwise 
in  poor  condition. 


No.  89 

89  A  Modem  Komachi.  Utawaga  of  Matsuba-ya  seated  in  a  parlor  by 
a  table  on  which  a  small  picture  of  Kwannon  is  displayed,  with 
incense  burning  in  a  koro  set  before  it  on  the  floor  below.  Series: 


33 


First  Evening 


Bijin  Nana  Komachi, 
Signed,  Toyokuni. 

Size,  15Y%  x  10  inches, 
illustration. 


i.e.,  “Seven  Modern-Beauty  Komachi.” 

Good  impression,  in  fine  condition.  See 


90 


H 

/ 


3 


u 


I 


1 


91 


KV 


Onna  Shichi  Fuku-jin.  Women  masquerading  as  the  Seven  Fortune- 
beings.  At  the  right,  Daikoku  and  Benten  are  typified;  in  the 
middle  sheet,  Ebisu  and  Hotei;  at  the  left  Bishamon,  Fukurokujii, 
and  Jurojin.  Signed,  Toyokuni.  About  1792. 

Triptych.  Size,  15x30  inches.  Fine  impression,  in  fine  condition, 
the  colors  as  when  first  printed. 

A  Women’s  Party  with  Joruri  Recital.  Scene  at  a  tea-house  on  the 
bank  of  the  Sumida  river  at  Ryogoku.  Sheets  one,  two,  and  three 
of  a  pentaptych.  At  the  right  two  women,  one  of  whom  carries 
a  kettle  of  sake,  stop  to  speak  as  they  pass.  In  the  centre  the 
noted  Joruri  chanter  Tomimoto  Buzendayu,  seated  before  a  black 
samisen  box  used  as  a  table,  reads  from  a  book  lying  open  before 
him  and  chants  the  words  while  a  woman  seated  beside  him  plays 
an  accompaniment  on  a  samisen.  In  the  next  sheet  two  women 
are  looking  at  a  third  woman  who  is  seated  and  playing  Satsuma 
ken  with  another  woman  not  shown,  as  the  two  left-hand  sheets 
are  lacking.  Signed,  Toyokuni.  About  1793. 

Triptych.  Size,  15  x  30  inches.  Good  impression,  in  fair  condition. 


92  Celebration  of  the  Hina  Matsuri.  A  mitate-e  or  transformed  repre¬ 
sentation  of  a  celebration  of  the  doll  festival,  third  day  of  the 
third  month,  in  a  nobleman’s  mansion.  The  hina  clana  or  doll 
shelves  are  seen  in  a  wing  of  the  house  at  the  right,  dolls  represent¬ 
ing  the  Emperor  and  Empress  being  placed  on  the  upper  shelf, 
and  the  Gonin-bayashi  or  five  court  musicians  on  the  shelf  below, 
while  on  the  lower  shelf  are  miniature  stands  laden  with  refresh¬ 
ments.  In  an  open  room  of  the  second  story  of  the  house  a  lady 
is  plajdng  a  koto,  while  two  others  accompany  her  on  a  samisen 
and  a  kokyu.  Other  women  are  gathered  about  them  and  more 
stand  near  the  house  on  the  bank  of  a  river  and  are  looking  at 
cherry  petals  that  float  down  the  stream.  Across  the  river  the 
bank  is  covered  with  yamabuki  flowers,  and  a  man  seated  on  the 
veranda  of  another  house  views  the  scene.  Signed,  Toyokuni. 
About  1802. 

Triptych.  Size,  15  x  29]^,  inches.  Late  impression,  somewhat  faded. 


First  Evening  34 

93  Three  Actors  in  a  Drama.  All  are  in  Chinese  costume.  In  the  centre, 

Segawa  Michinosuke  as  a  lady  of  high  rank,  playing  a  flute;  at 
the  left  Onoe  Eisaburo  as  a  nobleman  holding  an  umbrella  over 
her;  at  the  left  Sawamura  Gonnosuke  as  another  dignitary  holding 
a  ceremonial  fan.  Signed,  Toyokuni.  Dated  Tiger  year,  with  a 
date-seal  of  the  style  used  in  the  tiger  year  1S06. 

Triptych.  Size,  1JFA  x  30  inches.  Ordinary  impression,  good  con¬ 
dition. 

94  Kinoe  Ne  Haru  Kyogen  no  Makura.  “Spring  of  Bunkwa  I  (1S04). 

Actors  leaning  on  arm-rests  and  dreaming.”  Portraits  of  five 
sleeping  actors  are  given,  and  above,  each  is  depicted  in  the  role 
that  he  dreams  about.  The  actors  are,  beginning  at  the  right, 
the  fourth  Nakamura  Denkuro,  the  second  Ichikawa  Komazo, 
Sawamura  Tozo,  Arashi  Shichigoro,  the  second  Osagawa  Tsuneyo, 
and  Iwai  Kumesaburo.  Signed,  Toyokuni. 

Hosoe  pentaptych.  Each  sheet  12  A  r  5  ’A  inches.  Fine  impression, 
in  fine  condition. 

95  Sawamura  Tozo  dreaming  of  himself  in  the  role  of  an  angry  old  woman. 

Another  impression  of  the  third  sheet  of  the  preceding  lot. 

96  Scene  from  a  Drama.  Right,  Onoe  Matsusuke  as  Hige  no  Ikyu; 

middle,  the  second  Ichikawa  Komazo  as  Sukeroku:  left,  the  second 
Osagawa  Tsuneyo  as  Agemaki,  mistress  of  Sukeroku.  The  action 
takes  place  before  the  mise  of  a  “green  house.”  Drama,  “Fuji- 
mirusato  Yawaragi  Soga,”  Kawarazaki  theatre  from  March  31 
to  April  30,  1797.  Signed,  Toyokuni. 

Hosoe  triptych.  Size,  12lA.  xl8  inches.  Ordinary  impression,  good 
condition. 


KIKUGAWA  EIZAN 

Pupil  of  his  father  Eini,  who  was  a  maker  of  artificial  flowers  and  a  painter 
in  the  Kano  style.  Dates  of  birth  and  death  unknown.  Worked  about  1800- 
1830. 

97  Exhibiting  His  Catch.  A  man  showing  to  two  women  a  huge  carp  in  a 
landing  net.  Signed,  Kikugawa  Eizan.  About  1810. 

Size,  UFA  x  9%  inches.  Fine  impression,  in  good  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 


35 


First  Evening 


98 


_ 

Furyu  Oridono.  “Fanciful  depiction  of  weaving.”  A  geisha  seated 
at  a  loom  and  another  geisha  standing  beside  her  holding  a  roll  of 
cloth.  Signed,  Kikugawa  Eizan. 

Size,  15  x  10  inches.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 


99  Discussing  a  Flower  Arrangement.  An  oiran  standing  and  her 
kamuro  seated  by  a  low  stand  upon  which,  in  a  large  bronze  vase, 
is  a  flower  arrangement  of  magnolia  blossoms  and  a  weeping 
willow  branch.  Signed,  Kikugawa  Eizan.  Dated,  Hare  year,  1807. 

Size,  15  x  10  inches.  Good  impression,  in  fair  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 


100 


102 


Furyu  Kodomo  Kodakara  Kakizome.  “A  child’s  first  writing  of  the 
year,  on  New  Year’s  day.”  Three  women  in  a  room  in  a  great 
house,  one  of  them  grinding  sumi  on  an  ink-stone,  another  holding 
up  a  large  sheet  of  paper  upon  which  an  inscription  has  been 
written.  Signed,  Kikugawa  Eizan. 

Size,  14%  %  9 %  inches.  Fine  impression.  Trimmed  a  little,  otherwise 
in  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

Sukeroku  no  Ya-u.  “Night  rain  of  Sukeroku.”  This  is  a  fanciful 
title  having  reference  to  the  famous  otokodate  Sukeroku  whose 
mon  (badge)  appears  under  the  series  title  in  an  upper  corner. 
Two  geisha  are  depicted  standing  side  by  side,  one  with  an  arm 
about  the  other’s  shoulder.  Series:  Furyu  Naga-uta  Hakkei,  i.e.. 
Eight  Fanciful  Songs.  Signed,  Eizan. 

Size,  U 5Y2  x  10%  inches.  Fine  impression,  good  condition. 

Sasayama  of  Matsuba-ya.  She  stands  with  part  of  her  figure  behind 
a  sliding  partition  having  paper  panes,  through  which  the  shadow 
of  the  concealed  portion  appears  in  silhouette.  Series:  Furyu 
Bijin  Zoroi,  i.e.,  A  Group  of  Elegant  Beauties.  Signed,  Eizan. 

Size,  12%  x  9%  inches.  Fine  impression,  good  condition. 

Furyu  Tomioka  Hatsu-yuki.  “Fanciful  view  of  the  first  snow  of  the 
season  at  the  Tomioka  shrine.”  Three  geisha  walking  under 
large  violet  and  yellow  umbrellas  in  falling  snow.  Signed,  Kiku¬ 
gawa  Eizan. 

Triptych.  Size,  15  x  30  inches.  Good  impression,  in  good  condition. 


First  Evening 


36 


104  Seiro  Mitate  San  Bijin.  “Three  Green-house  Beauties.”  Three 
oiran  promenading  in  the  Naka-no-Cho  under  blossoming  cherry 
trees  set  out  in  the  middle  of  the  street  and  guarded  by  a  protecting 
fence.  Right,  Hitomoto  of  Daimonji-ya;  middle,  Hanaogi  of 
Ogi-ya;  left,  Tagasode  of  Tama-ya.  Signed,  Kikugawa  Eizan. 

Triptych,  Size,  15  x  30  inches.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 


No.  105 


UTAGAWA  HIROSHIGE 


Pupil  of  Toyohiro.  Personal  name  Ando  Tokitaro.  First  studio  name 
Ichiyusai,  changed  a  little  later  to  Ichiryusai  Hiroshige.  Born  1797;  died 
October  12,  1858. 


105  Soshu,  Enoshima  Iwaya  no  Zu.  “Picture  of  the  grotto  on  the  south 
side  of  the  island  of  Enoshima,  province  of  Soshu  (Sagami).”  In  the 
foreground  a  great  breaker  curling  over  upon  the  rocks.  Series, 
Honcho  Meisho,  i.e.,  “Famous  Sights  of  the  Main  Island.” 
Signed,  Ichiryusai  Hiroshige. 

Size,  8 if  x  13l/2  inches.  Fine  impression,  in  fair  condition.  See 
illustration. 


37 


First  Evening 


s 


106  Satta  Fuji.  View  of  Fuji  from  the  Tokaido  where  the  road  leads  up 
Satta  peak  from  the  shore  of  Suruga  bay.  Series:  Honcho  Meisho. 
Signed,  Hiroshige. 

Size,  85/ £  x  13Fs  inches.  Good  impression;  margins  trimmed  off  and 
the  picture  also  trimmed  at  the  ends. 


KYOTO  MEISHO  NO  UCHI 


“Famous  places  in  Kyoto.”  Five  of  the  set  of  ten  prints,  and  one  duplicate. 
Each  signed,  Hiroshige.  Size  about  8%  x  14-  inches. 


Shimabara  Deguchi  no  Yanagi.  “The  willow  tree  at  the  exit  from 
the  Shimabara,”  the  courtesan  quarter  of  the  Western  Capital;  a 
jolly  roysterer  being  helped  away. 

Fine  impression,  fair  condition. 


108  Kiyomizu.  View  of  the  famous  Buddhist  temple  standing  on  a 
hillside,  surrounded  by  blossoming  cherry  trees. 

Fine  impression,  in  fair  condition. 


109  Kiyomizu.  Another  fine  impression,  slightly  faded  and  not  in  quite 

so  good  condition. 

110  Yodogawa.  A  boating  party  on  the  river  on  a  moonlight  night.  A 

smaller  boat  is  tied  alongside  and  from  it  refreshments  are  being 
\  served  to  the  merrymakers. 

Fine  impression,  in  fair  condition  except  at  the  ends  where  it  is  somewhat 
rubbed  and  stained. 


Yase  no  Sato.  “The  village  of  Yase,”  a  suburb  of  the  city.  Three 
women  faggot  gatherers,  locally  known  as  Oharami,  are  shown 
trudging  along  a  path  through  fields  gay  with  green  and  yellow 
growing  crops,  one  carrying  a  bundle  of  faggots,  one  a  ladder,  and 
the  third  a  tray  with  a  pounding  block  and  three  wooden  mallets. 
Fine  impression,  in  fine  condition. 


112 

J  0 


Tadasu  Kawara  no  Yudachi.  The  river  bed  at  Tadasu  in  a  shower. 

Fine  impression,  in  good  condition. 


First  Evening 


38 


NANIWA  MEISHO  ZU  KAI 

Pictures  of  Famous  Places  in  Naniwa,  a  'poetical  designation  of  the  city  of 
Osaka.  Five  of  the  set  of  ten  prints  and  one  duplicate.  Each  signed,  Hiro 
shige.  Size,  about  9  x  Hi  inches. 

113  Dotombori  no  Zu.  Picture  of  the  Dotombori  canal  and  the  Ebisu 

bridge  leading  to  the  street  on  the  further  side  where  the  theatres 
were  located.  Banners  advertising  the  attractions  appear  above 
the  roofs. 

Fine  impression,  not,  in  very  good  condition,  soiled  along  the  line  of  a 
vertical  crease. 

114  Anryu-Machi  Naniwa-ya  no  Zu.  “Picture  of  Naniwa  house  in  Anryu 

street.”  Vietv  in  the  garden  of  the  tea-house  showing  the  famous 
old  pine  with  its  low  spreading  branches  supported  by  many 
trestles. 

Good  impression,  in  fair  condition. 

115  Shin-machi  Kuken-cho.  Kuken  street,  Shinmachi,  the  courtesan 

quarter.  A  procession  of  women  passing  down  the  street  which  is 
lined  on  one  side  with  spectators. 

Good  impression,  fair  condition. 

116  Sumiyoshi  Onta  no  Saishiki  Dengaku  no  Zu.  Picture  of  a  Dengaku 

mimetic  dance  in  honor  of  the  Kami  of  the  rice  fields,  at  the  Sumi¬ 
yoshi  shrine. 

Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

117  Imamiya  Toka  Ebisu.  The  Ebisu  festival  at  the  village  of  Imamiya. 

Fine  impression  of  a  much  admired  print.  In  perfect  condition  save 
for  a  vertical  crease. 

118  Imamiya  Toka  Ebisu.  Another  impression,  with  different  coloring. 

Not  in  very  good  condition. 

OMI  HAKKEI 

Eight  views  of  Orni,  the  province  in  which  Lake  Biwa  is  situated.  Three 
prints  of  the  series,  each  signed,  Hiroshige.  Size,  about  9  x  14  inches. 

119  Yabase  no  Kiban.  Returning  sails  at  Yabase. 

Fine  impression,  in  fine  condition. 


39 


First  Evening 


$> 


f 

120 


\J 


Hira  no  Bosetsu.  Evening  snow  on  Mount  Hira. 

Fine  impression.  Condition  only  fair.  Many  holes  have  been  patched. 


121  Karasaki  no  Ya-u.  Night  rain  at  Karasaki.  The  famous  old  pine 
tree  in  a  heavy  downpour. 

Late  impression,  in  good  condition. 


OMI  HAKKEI 

Eight  views  of  Omi.  The  half-block  set  published  by  Arita-ya  Seiemon. 
Three  prints  of  the  series,  each  signed,  Hiroshige.  Size,  about  5 M  x  8  %  inches, 
not  including  the  blue  border.  Fine,  but  late  impressions;  in  good  condition. 
From  the  collection  of  Frederick  W.  Gookin. 


122  Mii  no  Bansho.  The  vesper  bell  at  Mii  Buddhist  temple  situated  on 
-^W  j  1  '  the  hillside  above  the  town  of  Otsu  on  Lake  Biwa. 


123 


jr 


124 

l L 


Hira  no  Bosetsu.  Evening  snow  on  Mount  Hira. 

Ishiyama  Aki  no  Tsuki.  The  autumn  full  moon  at  Ishiyama. 


EDO  KINKO  HAKKEI 


“Eight  views  in  the  environs  of  Edo.”  Three  prints  of  the  series.  Each 
signed,  Hiroshige.  Size,  about  9  x  14  inches. 


Shibaura  no  Seiran.  “Clear  weather  after  a  storm  at  Shibaura.” 

Fine,  though  rather  late  impression.  Color  stronger  than  in  the  earlier 
editions.  In  fair  condition;  slightly  soiled  and  rubbed  along  the  line  of  a 
vertical  crease. 


126  Haneda  no  Rakugan.  “Geese  flying  down  at  Haneda.” 
Fine  impression,  in  fair  condition. 

From  the  collection  of  Frederick  W.  Gookin. 


127 


Ikegami  no  Bansho.  “The  vesper  bell  at  Ikegami  Buddhist  temple.” 

Fine  impression,  in  fine  condition.  See  illustratiori. 

From  the  collection  of  Frederick  W.  Gookin. 


First  Evening 


40 


No.  127 

KANAZAWA  HAKKEI 

11  Eight  Views  of  Kanazawa ,”  an  inlet  of  the  sea  not  far  from  Yokohama. 
Three  'prints  of  the  series.  Each  signed,  Hiroshige.  Size,  about  8fixl3Y% 
inches. 

128  Nojima  no  Sekisho.  “The  evening  glow  at  Nojima.” 

Ordinary  impression,  fair  condition. 

129  Hirakata  no  Rakugan.  “Geese  flying  down  at  Hirakata.” 

Fine  impression,  in  good  condition. 

130  Uchikawa  no  Bosetsu.  “Evening  snow  on  the  Uchi  river.” 

Good  impression,  not  in  very  good  condition;  somewhat  soiled  and  rubbed. 

TOTO  MEISHO 

11  Famous  Sights  of  the  Eastern  Capital .”  Hiroshige  designed  many  series 
to  which  this  title  was  given.  The  writer  of  this  catalogue  has  listed  twenty-eight, 
and  also  four  more  in  which  Toto  Meisho  forms  a  part  of  the  title. 

131  Shiba  Shinmei  Keidai.  “Inside  the  grounds  of  the  Shinmei  Shinto 
shrine,  Shiba  district.”  One  of  the  earliest  set;  published  by 
Kawaguchi  Shozo.  Signed,  Hiroshige. 

Size,  8fs  x  IS d  inches.  Ordinary  impression,  in  fair  condition. 
Margins  and  decorative  border  trimmed  off. 


41 


First  Evening 


n  1  l/U  (/Xs 


Two  Prints  of  Another  Series  Issued  by  the  Same  Publisher. 
Both  signed ,  Hiroshige. 

132  Sumidagawa  Hana  Zakari.  “Cherry  trees  in  bloom  on  the  Sumida 
3  IF-  river  embankment.” 

Size,  8%  x  18%  inches.  Fine  impression,  slightly  soiled. 

From  the  collection  of  Frederick  W.  Gookin. 

133  Shin  Yoshiwara  Nihon  Tsutsumi  Emonzaka  Akatsuki.  “Dawn  at  the 

hill  leading  to  the  gate  of  the  new  Yoshiwara,  Nippon  embankment.” 

Size,  8%xl8}4  inches.  Fine  impression,  in  fine  condition  save  that 
the  margins  have  been  trimmed  off  avid  the  corners  rounded. 

Four  Prints  of  the  Earliest  of  the  Series  Published  by  Sano-ya 
Kihei.  Each  signed,  Hiroshige.  Size,  about  9x18 %  inches.  All  good 
impressions  in  good  condition. 

134  Takanawa  no  Yukei.  “Evening  view  of  Takanawa,”  a  section  of  Edo 
lying  along  the  shore  of  the  bay. 

135  Kanda  Myojin  Higashi  Zaka.  “The  Eastern  ascent  to  the  Myojin 

shrine,  Kanda  district.” 

From  the  collection  of  Frederick  W.  Gookin. 


136  Shiba  Zojoji  Sandai  no  Zu.  “Within  the  grounds  of  Zojoji  Buddhist 
Temple,  Shiba  district.” 

137  Kameido  Tenmangu  Keidai  Yuki.  “The  grounds  of  the  Tenmangu 

shrine  at  Kameido,  in  falling  snow.” 

Two  Prints  of  Another  Series  Issued  by  Kihei.  Each  signed, 
Hiroshige.  Size,  about  8%x  13%  inches.  F ine  impressions,  in  good  condition. 

138  Shiba  Zojoji.  View  of  one  of  the  buildings  of  Zojoji  temple,  and  the 

walk  leading  to  the  entrance  gate. 

139  Kameido  Fujibana.  Wistaria  flowers  in  bloom  in  the  grounds  of  the 

Tenmangu  shrine  at  Kameido. 


140  Ueno  Yori  Kiyomizudo  Shinobazu  Miru  Zu.  “View  of  Shinobazu 
Pond  from  the  Kiyomizudo  of  Toeizan  Buddhist  temple,  Ueno.” 
From  one  of  the  series  published  by  Maru-Sei.  Signed,  Hiroshige. 

Size,  8%  x  13%  inches.  Ordinary  impression,  fair  condition. 


First  Evening 


42 


Two  Prints  of  the  Series  Published  by  Nuno-Kichi.  Each  signed, 
Hiroshige.  .Size,  about  8%  x  13%  inches.  Good  impressions ,  in  good  condition. 

141  Matsuchiyama  no  Zu.  “View  from  Matsuchi  hill”;  in  the  foreground, 
the  street  where  the  theatres  were  located,  Kinryusan  temple 
^  beyond,  and  Mt.  Fuji  in  the  distance. 

See  illustration. 


No.  141 

142  Sumida  Tsutsumi  Uchu  no  Sakura.  Cherry  flowers  in  rain  on  the 

Sumida  river  embankment. 

143  Takanawa  Tsuki  no  Kei.  “Takanawa,  moonlight  view.”  Series 

published  by  Ezaki-ya  Tatsuzo. 

Size,  7%  x  12%  inches.  Late  impression,  rather  poor  condition. 

144  Ueno  Shinobazu  Hasu  Ike.  “Lotus  flowers  in  Shinobazu  pond, 

Ueno.”  Series  published  by  Yamamoto-ya  Heikichi. 

/  Size,  8%  x  13%  inches.  Ordinary  impression,  fair  condition. 

Four  Prints  of  the  Series  of  Vertical  Panels  Published  by  Fuji- 
Hiko  and  one  duplicate.  Each  signed,  Hiroshige.  Size,  about  15  x  5  inches. 

445  Nihon  Bashi  Setchu  no  Kei.  “View  of  Nippon  bridge  in  falling  snow.” 

Late  impression,  fair  condition. 


43 


First  Evening 


b 


146 

0 


Matsuchiyama  Yuki  Hare.  “Matsuchi  hill  in  clear  weather  after  a 
snowfall.” 

Fine  impression,  in  very  fine  condition.  See  illustration. 

From  the  collection  of  Frederick  W.  Gookin. 


WTW 

*■  i 
4‘  -sf. 


No.  146 


147  Matsuchiyama  Yuki  Hare. 

Later  impression,  in  fine  condition. 


Kasumi-ga-Seki  yu  Kei.  View  of  the  street  named  Kasumi-ga-Seki ; 
a  procession  of  Jishu  priests  coming  down  the  hill. 

Good  impression,  in  good  condition. 


149  Susaki  Kaihin  Shiohi  Gari  no  Zu.  “Gathering  clams  at  low  tide  at 
Susaki.” 

Ordinary  impression,  fair  condition. 


First  Evening 


44 


TOTO  MEISHO  NO  UCHI 

Three  prints  of  a  series  of  vertical  panels  issued  by  a  publisher  whose  mark 
has  not  been  identified.  Signed,  Hiroshige.  Size,  13l/ixfilA  inches.  Ordi¬ 
nary  impressions,  good  condition. 


150  Nihon  Bashi 

distance. 


150  Nihon  Bashi  no  Zu.  “Picture  of  Nippon  bridge”;  Mt.  Fuji  in  the 

151  Asakusa  Kinryusan  Setchu  no  Zu.  “Kinryusan  temple,  Asakusa 
district,  seen  through  falling  snow.” 

152  Hashiba  Yuki  Hare  no  Zu.  “Hashiba  in  clear  weather  after  a 
snowfall.” 

Slightly  toned. 

153  Matsuchiyama  Seiran.  “Clear  weather  after  a  storm  at  Matsuchi 
hill.”  Series:  Toto  Meisho  no  Uchi,  Sumidagawa  Hakkei.  Signed, 
Hiroshige. 

Size,  77/s  x  12  A  inches.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 


154 


155 


Kisen  Hoshi.  A  Buddhist  priest,  one  of  the  poets  of  the  olden  time, 
standing  on  a  green  hillside  below  a  waterfall,  above  which  on  the 
rocky  bank  a  stag  and  a  doe  are  standing.  Series,  Rokdca-sen, 
i.e.,  “The  Six  Famous  Poets.”  Signed,  Hiroshige. 

Size,  lJ+Ys  %  -4/4  inches.  Fine  impression,  fine  condition. 

Kisen  Hoshi.  Another  impression,  later  printing,  and  not  in  as  good 
condition. 


SHOKOKU  MU  TAMAGAWA 

“  The  Six  Tama  Rivers.”  These  rivers — each  of  which  flows  through  a 
different  province — are  indicated  by  incidents  mentioned  infamous  poems. 

Four  Prints  op  the  Yokoban  Set  Published  by  Tsuta-ya  Kichizo. 
Each  signed,  Hiroshige.  Size,  aboid  8%  x  13  XA  inches. 


45 


First  Evening 


/N 


M)  ik kA 


-v 


156  Noda  no  Tamagawa.  Two  court  ladies  and  a  serving  man  standing 
on  the  bank  of  the  Tama  river  in  Michinoku,  watching  a  flock  of 
)  chidori  (plovers)  flying  above  the  stream. 

Fine  impression,  in  good  condition.  See  illustration. 

From  the  collection  of  Frederick  W.  Gookin. 


157  Chofu  no  Tamagawa.  Women  washing  white  cloth  on  the  bank  of 
the  Tama  river  in  Musashi. 

Ordinary  impression,  good  condition. 


,158  Toi  no  Tamagawa.  Women  seated  on  the  bank  of  the  Tama  river 
in  Settsu,  on  a  moonlight  evening  fulling  cloth  by  the  kinuta 
process  of  beating  it  with  wooden  mallets. 

Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 


159  Koya  no  Tamagawa.  Pilgrims  to  the  shrines  on  Koyasan  standing 
beside  the  Tama  river  in  the  province  of  Kii,  commonly  known  as 
the  Poisoned  Tama  River. 

Fine  impression,  in  fine  condition. 


First  Evening 


46 


Two  Prints  of  the  O-Tanzaku  Set  Published  by  Fujioka-ya  Kei- 
suke.  Each  signed,  Hiroshige.  Size,  14/8x5  inches. 


Toi  no  Tamagawa.  Women  fulling  cloth  by  moonlight. 

Good  impression,  fine  condition. 

Noji  no  Tamagawa.  A  nobleman  standing  on  the  bank  of  the  Tama 
river  in  Omi  looking  at  the  hagi  flowers  for  which  it  is  famous, 
and  at  the  reflection  of  the  moon  in  the  water. 

Late  impression,  fair  condition. 


Three  Prints  of  the  Oban  Set  Published  by  Maru-ya  Kyushiro 
/Tn  1857.  Each  signed,  Hiroshige.  Size,  13%  x  8%  inches. 


162 


Chofu  no  Tamagawa.  Women  washing  cloth  in  the  river. 

Good  impression,  fair  condition. 

Noda  no  Tamagawa.  Watching  the  chidori. 

Fine  impression,  fair  condition. 

Koya  no  Tamagawa.  An  old  Buddhist  monk  and  an  old  woman 
looking  at  the  rapid  stream. 

Fine  impression,  in  fine  condition. 


t 

vj 


GO-JU-SAN  TSUGI  MEISHO  ZU  KWAI 

Seven  prints  of  the  so-called  “  Upright  Tokaido”  set.  Each  signed,  Hiro¬ 
shige.  Size,  about  13%  x  8%  inches.  Dated  hare  year  1855. 


165 

iaM 


166 


167 


168 


Shono.  Porters  halting  on  the  highway  to  rest;  the  Shiratori  tumulus 
in  the  distance  at  the  right. 

Fine  impression,  good  condition  save  margins  trimmed  off. 

Narumi.  Shops  for  the  sale  of  shibori,  a  peculiar  kind  of  dyed  cotton 
cloth. 

Good  impression;  toned. 

Odawara.  View  from  the  beach. 

Good  impression;  toned. 

Seki.  The  branch  road  to  the  shrine. 

Fine  impression;  toned. 


Saka-no-Shita.  The  statue  of  Kwannon  in  a  small  cave. 

Fine  impression;  toned. 

Mariko.  View  of  the  village  street. 

Fine  impression ;  toned. 

Shinagawa.  The  village  street  and  Edo  bay  seen  from  Goten  hill. 

Fine  impression ;  toned. 


47 


First  Evening 


KWACHO 


“Flower  and  bird  pictures.”  This  is  the  literal  signification  of  the  term, 
bid  it  is  a  general  category  that  includes  other  related  subjects.  Hiroshige’s  fame 
will  ultimately  rest  quite  as  much  upon  his  compositions  in  this  field  as  upon 
his  work  as  a  landscape  artist. 

172  Tsubaki  ni  Suzume  Setchu.  Camellias  and  sparrows  in  falling  snow. 
First  edition,  published  by  Wakasa-ya  Yoichi.  In  the  second 
which  was  published  by  Sano-ya  Kihei  when  he  acquired  the  blocks 
after  Yoichi’s  death,  the  sky  was  printed  entirely  in  gray  in  most 
of  the  impressions,  and  instead  of  the  rectangular  “  Jakurindo” 
mark  of  Yoichi  which  appears  upon  this  print,  a  huge  square 
“Sano-Ki”  mark  of  Kihei  was  substituted.  Signed,  Hiroshige. 


Size,  15  x  6 inches.  Good  impression,  in  perfect  condition. 
From  the  collection  of  Frederick  W.  Gookin. 


173  NaminiTsuru.  A  crane  standing  upon  a  rock  amid  breakers.  Signed, 
Hiroshige.  First  edition,  published  by  Wakasa-ya  Yoichi.  The 
blocks  for  this  print  were  also  acquired  by  Kihei  who  added  a  large 
red  disc  of  the  sun  which  was  placed  in  the  upper  corner  at  the 
left.  This  was  to  make  the  print  more  attractive  to  the  mass  of 
the  people  who  would  not  buy  prints  unless  there  was  a  good  deal 
of  red  in  the  color  scheme. 


Size,  UFA  x  dfi  inches.  Good  impression,  in  poor  condition. 


174  Yamabuki  ni  Kawazu.  Branches  of  Japan  Globe-flowers  (Kerria 
Japonica)  hanging  over  a  stream  in  which  two  frogs  are  swimming. 
Signed,  Hiroshige. 


Size,  ljfj  x  6f 2  inches.  Good  impression,  in  poor  condition. 

175  Ume  ni  Shirim.  A  long-tailed  bird  (shirim)  perched  upon  a  branch 


of  a  plum  tree  laden  with  blossoms,  which  in  this  impression  are 
shaded  with  green.  Signed,  Hiroshige.  First  edition,  published 
by  Wakasa-ya  Yoichi.  The  blocks  were  acquired  by  Sano-ya 
Kihei  who  printed  a  second  edition  in  which  the  green  upon  the 
blossoms  was  replaced  by  pink,  and  the  bird’s  head,  here  white, 
was  printed  in  brown. 

Size,  15 A  x  inches.  Good  impression,  in  good  condition. 

From  the  collection  of  Frederick  W.  Gookin. 


First  Evening 


48 


ISO 


1S1 

0 


182 


0 


Falling  Cherry  Petals,  Reeds,  and  Miyakodori.  This  is  a  print  much 

admired  b}r  the  Japanese  for  its  poetical  charm  which  is  accentuated 
by  the  extreme  simplicity  of  the  treatment.  Signed,  Hiroshige. 

Size,  13%  x  4%  inches.  Good  impression,  in  good  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

Tsuki  ni  Matsu  ni  Hototogisu.  Full  moon,  pine  branch,  and  cuckoo. 
The  drawing  which  this  print  reproduces,  was  made  with  compara¬ 
tively  few  broad  brush-strokes.  Signed,  Hiroshige. 

Size,  13 %  x  4%  inches.  Late  impression,  good  condition. 

Fuyo  (Hibiscus  Mutabilis)  and  Long-tailed  Bird.  Signed,  Hiroshige. 
Impression  from  the  original  blocks,  published  by  Kawaguchi  Shozo. 

Size,  13%  x  4%  inches.  Late  impression,  fair  condition. 

Fuyo  and  Long-Tailed  Bird.  The  same  subject  as  the  preceding  lot, 
but  printed  from  re-engraved  blocks.  The  markings  upon  the 
petals  of  the  hibiscus  flowers  are  different  and  quite  certainly  not 
drawn  by  Hiroshige,  and  no  publisher’s  mark  appears.  This  is 
not  a  modern  reprint  however.  At  latest  it  may  date  from  about 
the  time  of  Hiroshige’s  death. 

Size,  13  x  4%  inches.  Late  impression,  fair  condition. 

Kobai.  Red-flowered  plum  blossoms.  Signed,  Hiroshige.  About 
1842. 

Size,  13%  x  4%  inches.  Late  impression,  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

Kiku  ni  Uguisu.  “Chrysanthemum  flowers  and  Japan  Bush- warbler.” 
Signed,  Hiroshige. 

Size,  15  x  5  inches.  Good  impression,  good  condition. 

Botan  ni  Cho.  “Peonies  and  Butterflies.”  Signed,  Ichiyusai  Hiro¬ 
shige.  One  of  the  master’s  very  rare  early  works. 

Size,  9%  x  13%  inches.  Late  impression,  good  condition. 

Water  Plants  and  Mandarin  Ducks.  Signed,  Hiroshige. 

Size,  14%  %  6%  inches.  Fine  impression.  Has  been  much  repaired 
by  the  filling  in  of  moth  holes,  but  the  work  was  done  so  skilfully  that  close 
inspection  is  required  to  see  its  extent.  See  illustration. 


49 


First  Evening 


No.  183  1  :  *  J 


184  Emblems  of  Longevity.  A  large  white  crane  standing  upon  a  pine 
branch,  seen  against  the  red  disc  of  the  sun.  Signed,  Ichiryusai. 

Kakemono-e.  Size,  281/^  x  9 Yz  inches.  Ordinary  impression,  fair 
condition. 


UTAGAWA  KUNIYOSHI 


Pupil  of  Toyokuni  I.  Personal  name  Ikusa  Yataro.  Studio  names 
Ichiyosai,  Choworo,  Ichibydsai,  and  Kuniyoshi.  Born  1797;  died  1861. 


185 


1 


Musashi  no  Kuni,  Chofu.  The  Chofu  Tama  river  in  Musashi.  Two 
gayly  dressed  women  on  the  bank  of  the  stream,  one  of  them  looking 
down  at  a  strip  of  white  cloth  lying  near  the  water’s  edge.  Right- 
hand  sheet  of  a  triptych, — one  of  a  series  of  six,  “Mu  Tamagawa.” 
Signed,  Ichiyosai  Kuniyoshi.  About  1844. 

Size,  IfY  x  9Y  inches.  Good  impression,  perfect  condition. 


First  Evening 


50 


186  Musashi  no  Kuni,  Chofu.  Middle  sheet  of  the  triptych.  A  woman 

and  a  boy  stand  by  a  tall  wooden  tub  filled  with  white  cloth. 
Same  signature,  size,  and  condition  as  the  preceding  lot. 

187  Ro.  This  title  is  given  to  the  print  by  the  artist  who  has  depicted  a 

geisha  standing,  looking  down  at  a  ro,  or  charcoal  burner  for 
heating  a  kettle.  Series:  Tatoegusa  Oshie  Hayabiki,  i.e.,  “To 
teach  quickly  everything  good.”  Signed,  Choworo  Kuniyoshi. 
About  1840. 

Size,  14}ix9^i  inches.  Fine  impression,  perfect  condition  save  for 
two  moth  holes. 

From  the  collection  of  Ernest  F.  Fenollosa. 

188  Women  Boating  on  a  Moonlight  Evening  in  Autumn.  Two  sheets  of 

this  print  are  signed  Choworo  Kuniyoshi,  and  the  third  is  signed 
Ichiyosai  Kuniyoshi. 

Triptych.  Size,  10  x  21%  inches.  Good  impression,  in  good  condition. 

189  The  Fisherman  and  his  Silhouette.  A  fisherman  seated  in  a  clump 

of  tall  grass,  fishing  with  two  rods,  one  held  in  each  hand,  his  basket 
hat  lying  by  his  side.  Printed  inscription,  Sono  omokage  teino 
utsushi-e,  i.e.,  “This  portrait  copied  as  closely  as  possible.”  On 
a  companion  sheet  a  silhouette  of  the  figure  appears  as  a  lobster 
with  a  large  sea-shell  by  its  side.  Signed,  Ichiyosai  Kuniyoshi 
gi-gwa,  i.e.,  drawn  for  fun. 

Two  prints  mounted  side-by-side.  Each  14%  %  10  inches.  In  fine 
condition. 

190  Nichiren  in  Exile  in  Sado-ga-Shima.  Nichiren,  exiled  to  the  island 

of  Sado  in  the  sea  of  Japan,  leaving  the  little  haven  of  Teradomari 
in  a  snowstorm  on  his  way  to  Tsukahara  where  he  lived  from 
December  1271,  until  April  1274,  when  he  was  released  and  returned 
to  Kamakura.  Series:  Koso  Go  Ichidai  Ryaku  Zu,  i.  e.,  Simple 
pictures  of  the  whole  life  of  Koso,  otherwise  known  as  Nichiren, 
the  renowned  Buddhist  monk  who  founded  the  Hokke-shii,  com¬ 
monly  called  the  Nichiren  sect.  Signed,  Ichiyosai  Kuniyoshi. 

Size,  8 %  x  ISfi  inches.  Good  impression  of  one  of  the  later  editions. 
Nichiren’s  kesa  printed  in  blue.  Margins  trimmed  off.  Otherwise  in 
good  condition.  See  illustration. 


51 


First  Evening 


No.  190  .  .  j  * 


SUZUKI  HARUNOBU 

c.  1730^1770 


191  The  Troubled  Dream.  A  woman  lying  asleep  on  her  bed  under  a 
mosquito-net  canopy  has  her  brows  knit  by  a  troubled  dream  as 
her  daughter  who  is  seated  by  the  bed  reads  a  love  letter  by  the 
light  of  an  andon.  At  the  right  a  sliding  partition  bears  a  painting 
of  a  landscape  and  the  signature  “Harunobu  gwa.” 

Size,  10%  %  77/ 8  inches.  Good  impression,  in  good  condition. 


A  Clandestine  Visit.  A  young  man  standing  before  the  mise  of  a 
house  in  the  Yoshiwara  talking  with  a  woman  seated  within.  On 
a  conventional  cloud  above  is  an  ode  of  which  the  general  significa¬ 
tion  is,  “He  comes  in  secret  but  he  has  some  sadness  in  his  heart.” 
Signed,  Suzuki  Harunobu. 

Size,  11  x  8  inches.  Fine  impression,  in  perfect  condition.  See  illus¬ 
tration. 


193  Chi.  “Wisdom.”  A  young  girl  seated  before  a  low  table  in  a  room 
that  is  open  at  the  left,  and  a  woman  bending  over  and  taking 
hold  of  her  hand,  teaches  her  to  write  Chinese  characters  with  the 


First  Evening 


52 


No.  192 


right  stress  upon  the  brush  strokes.  Another  girl  seated  at  the 
end  of  the  table  looks  on,  and  a  pile  of  writing  paper  on  the  floor 
at  the  further  end  bears  the  date  “Meiwa  shi,  ku  gatsu,”  i.e.,  ninth 
month,  1767.  An  ode  in  an  upper  corner  signifies:  “We  are  born 
in  a  world  where  there  is  a  right  way,  and  if  we  learn  one  thing  we 
can  know  ten.”  Signed,  Harunobu. 

Size,  10%  x  7yf  inches.  Trimmed  from  11%  x  8%.  Good  impression. 
Somewhat  soiled. 

194  An  Exchange.  A  young  mother  taking  her  infant  son  from  the  arms 
of  another  woman  and,  as  she  does  so,  slipping  a  love  letter  under 
the  edge  of  the  other’s  kimono.  Notable  for  the  beauty  of  the 
grays  of  the  wall  of  the  room  and  the  ground  in  the  garden  and 
the  soft  low-toned  pink  of  the  woodwork  and  the  garden  fence. 
Signed,  Suzuki  Harunobu. 

Size,  11%  x  8%  inches.  Good  impression,  in  fair  condition. 


53 


First  Evening 


No.  195 

195  Dressing  Her  Daughter’s  Hair.  A  young  mother  dressing  the  hair  of 

her  daughter  who  is  seated  in  a  parlor  and  holds  a  large  pink 
chrysanthemum  in  her  hand.  A  still  larger  blossom  is  in  a  vase 
that  stands  on  the  veranda  just  outside  the  room.  Signed,  Suzuki 
Harunobu. 

Size,  10%  x  7 7/s  inches.  Fine  impression,  in  good  though  not  perfect 
condition.  See  illustration. 

From  the  collection  of  Frederick  W.  Gookin. 

ISODA  KORYUSAI 

Worked  1768-1786 

196  Kami-age.  "The  first  hair-dressing.”  This  takes  place  when  a  girl 

has  reached  the  age  of  five  years.  The  print  shows  a  young  girl 
with  her  hair  elaborately  dressed  and  attired  in  her  finest  clothes, 
being  taken  by  her  parents  to  visit  the  Shinto  shrine  of  the  district 
in  which  their  residence  was  located.  Signed.  Koryusai. 

Size,  10  x  67/ 8  inches.  Ordinary  impression,  in  fair  condition. 


First  Evening 


54 


JJAl 


197  Hana  Murasaki  of  Matsuba-ya  in  the  Yoshiwara  parade  attended  by 

her  kamuro  and  by  the  matron  of  “The  House  of  the  Pine.”  Series : 
Seiro  Wakana  Moyo.  Signed,  Koryu. 

Size,  8%  x  6  inches.  Ordinary  impression,  fair  condition. 

198  Gi.  The  cardinal  virtue  of  righteousness.  The  print  depicts  it  as 

exemplified  in  a  mitate-e  or  transformed  version  of  the  Ichimonji-ya 
incident  from  the  Chushingura  drama.  A  young  man  seated  on 
the  veranda  of  a  tea-house  holds  a  partly  unrolled  letter  and  turns 
to  listen  to  a  woman  who  is  seated  in  an  adjacent  dwelling.  Series: 
Fiiryu  Ryaku  Go-jo,  i.  e.,  “Fanciful  Five  Moral  Precepts  from 
China.”  Signed,  Koryu. 

Size,  10%  x  7%  inches.  Ordinary  impression,  in  good  condition. 

199  A  Modern  Otomo  no  Kuronushi.  A  woman  carrying  on  her  back  a 

young  boy  who  is  fancifully  likened  to  the  classical  poet  Kuronushi. 
The  woman  who  carries  the  boy  is  taking  him  into  a  house  from 
the  garden,  and  is  followed  by  another  woman  who  helps  her  to 
support  the  burden  of  the  boy’s  weight.  Series:  Imayo  Fuzoku 
Rokkasen,  i.  e.,  “Popularized  and  Modernized  Six  Famous  Poets.” 
Signed,  Koryu. 

Size,  97/ s  x  7%  inches.  Ordinary  impression,  slightly  toned. 

From  the  collection  of  Ernest  F.  Fenollosa. 

200  Noji  no  Tamagawa.  The  Noji  Tama  River,  famed  for  the  bush  clover 

growing  on  its  banks.  Two  boys  are  shown  on  a  raft,  one  poling 
it  along,  while  the  other  breaks  off  a  branch  of  bush  clover  that 
projects  over  the  stream.  Series:  Furyu  Kodomo  no  Tamagawa, 
i.e.,  “The  Tama  Rivers  Fancifully  Typified  by  Children.”  Signed. 
Koryu. 

Size,  10  x  7%  inches.  Ordinary  impression,  fair  condition. 

201  Shizuka  of  Tama-ya.  She  is  walking  toward  the  left,  followed  by  her 

kamuro.  A  lantern  of  the  house  hangs  above.  Signed,  Bu-Ko 
Yagenbori  Inshi  Koryusai. 

Hashira-e.  Size,  27%  x  %%  inches.  Good  impression,  in  fine  con¬ 
dition. 

202  Hinazuru  of  Choji-ya.  She  is  walking  attended  by  her  kamuro  who 

carries  a  white  cat  in  her  arms.  A  lantern  of  the  house  hangs 
above.  Signed,  Koryusai. 

Hashira-e.  Size,  27%  x  4%  inches.  Fine  impression,  good  condition. 


55 


First  Evening 


203  Hinazuru  of  Choji-ya. 

Another  impression;  browned. 

204  Wakamatsu  of  Otawara-ya.  She  is  seated  by  a  hibachi  and  is  wiping 


a  tea-bowl,  while  another  woman  looks  on.  Signed,  Koryu. 

Hashira-e.  Size,  26%  %  4%  inches.  Ordinary  impression,  faded  and 


brow?ied. 


TORII  KIYONAGA 


1752-1813 


205  Hazuki.  This  is  a  fancy  name  for  the  eighth  month.  Two  geisha 
on  their  way  to  keep  a  professional  engagement  on  a  moonlight 
evening,  followed  by  a  nakai  bearing  an  orange  colored  samisen 
box.  Series:  Furyu  Ju-ni  Ko,  i.e.,  “Fanciful  Twelve  Seasons.” 
Signed,  Kiyonaga.  An  early  work  in  the  style  of  Shigemasa, 
about  1776. 


Size,  9  x  6%  inches.  Fine  impression,  in  fine  condition. 
From  the  collection  of  Frank  Lloyd  Wright. 


206  Kannazuki.  Fancy  name  for  the  tenth  month.  A  father  taking  his 
young  daughter  to  visit  a  Shinto  shrine,  accompanied  by  his  wife 
and  another  woman.  Series,  Furyu  Shiki  no  Tsuki  Mode,  i.e., 
“Fanciful  designs  of  Temple  visiting  in  each  month.”  Signed, 
Kiyonaga. 


Size,  10%  x  7%  inches.  Late  impression,  in  fair  condition,  has  a  few 
moth  holes. 


207  Mitsumata  Meigetsu.  “Clear  moonlight  at  Mitsumata.”  Scene  in 
a  tea-house  on  the  bank  of  the  Sumida.  A  man  seated  on  the 
floor  has  hold  of  the  hand  of  a  woman  who  bends  over  toward  him. 
On  the  engawa  outside  another  woman  is  seated  pipe  in  hand, 
with  her  back  turned  to  them.  Series:  Koto  Hakkei,  i.e.,  “Eight 
Scenes  of  the  Eastern  Capital.”  Signed,  Kiyonaga. 


Size,  9%  x  7  l/i  inches.  Good  impression.  Softly  toned. 
From  the  collection  of  Frank  Lloyd  Wright. 


208  A  Modern  Izumi  Shikibu.  This  is  a  fanciful  title.  A  young  woman 
who  is  hastening  toward  a  garden  gate  accompanied  by  another 
woman,  and  turns  to  speak  to  a  boy  who  is  following  them,  is 
compared  to  the  famous  eleventh  century  poetess.  Series:  Wakoku 


First  Evening 


56 


s J 


210 

J  ' 


211 

r 


212 


Bijin  Ryaku  Shu,  i.e.,  “A  Bevy  of  Japanese  Beauties.”  Signed, 
Kiyonaga. 

Size,  lO'A  x  7 Ys  inches.  Late  impression.  Condition  only  fair. 

Two  Popular  Actors.  The  second  Ichikawa  Monnosuke  as  a  woman 
in  a  violet  furisode  having  a  pattern  of  maple  leaves;  and  the 
second  Ichikawa  Komazo  as  a  man  in  a  yellow  and  pink  striped 
kimono;  both  standing  beneath  a  blossoming  cherry  tree.  Signed, 
Kiyonaga. 

Size,  14%  x  97A  inches.  Good  impression,  in  fair  condition. 

A  Breezy  Day  at  Kameido.  A  woman  wearing  a  black  zukin  walking 
in  the  grounds  of  the  Tenjin  shrine,  her  garments  flapping  and  the 
long  racemes  of  wistaria  flowers  that  hang  down  overhead  waving 
in  the  wind  she  is  breasting.  Signed,  Kiyonaga. 

Hashira-e.  Size,  24V±  x  4  A  inches.  Fine  impression,  much  browned. 

The  Pet  Dog.  A  woman  holding  in  her  arms  a  small  long-haired  dog, 
to  which  her  young  son  standing  by  her  side  reaches  up  his  hands. 
Signed,  Kiyonaga. 

Hashira-e.  Size,  26  Ax  4  A  inches.  Ordinary  i?npression,  fair  con¬ 
dition. 

Out  for  a  Walk.  A  woman  in  thin  summer  garments  walking  under  an 
umbrella  and  carrying  an  open  fan.  Signed,  Kiyonaga. 

Hashira-e.  Size,  26A  x  4A  inches.  Ordinary  impression,  browned. 

Shijo  Kawara  Yu-suzumi  no  Tei.  Cooling  off  at  evening  in  the  river 
bed,  Shijo  district,  Kyoto.  Two  women  and  a  girl  on  a  low  platform 
built  over  the  water  of  the  shallow  stream,  one  of  the  women  bend¬ 
ing  down  to  set  off  sparklers  fixed  upon  a  square  piece  of  wood 
floating  on  the  water.  Signed,  Kiyonaga. 

Size,  1SV8x9V2  inches.  Trimmed  from  15x10.  Otherwise  in  good 
condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 


214  Cherry  Flower  Viewing  on  Asuka  Hill.  Two  women,  one  wearing  a 
black  furisode,  the  other  a  pink  and  yellow  striped  kimono,  strolling 
about  under  the  trees  and  admiring  the  pink  blossoms.  Middle 
sheet  of  a  triptych.  The  entire  composition  is  illustrated  in  “Japan¬ 
ese  Colour  Prints  and  Their  Designers”  by  Frederick  W.  Gookin. 
Signed,  Kiyonaga. 

Size,  14A  x  9%  inches.  Fine  impression.  Faded  and  toned. 


57 


First  Evening 


KATSUKAWA  SHUNCHO 

Pupil  of  Shunshd.  Followed  the  style  of  Kiyonaga,  and  in  his  later  works 
imitated  the  style  of  Eishi  and  other  artists  of  the  Kwansei  period.  Dates  of 
birth  and  death  unknown.  Worked  from  about  1780  to  1795. 

215  Four  Oiran  of  Choji-ya.  The  oiran  Wakagusa,  Karakoto,  Tsumagiku. 
and  Asagiku,  on  a  veranda,  grouped  about  a  tobako-bon  and  tables 


7i& 

/ - 


No.  215 


on  which  food  is  set  out.  A  green  sudare,  i.  e.,  curtain  of  bamboo 
slats,  hangs  behind  them  at  the  left  and  beyond  it,  at  the  right, 
branches  of  cherry  trees  in  bloom  are  seen,  with  poem  slips  bearing 
the  women’s  names  attached  thereto.  Signed  with  seal  only, 


First  Evening 


58 


/  1 1 


217 


Shuncho.  This  is  a  very  rare  early  work  by  Shuncho,  drawn  about 
1781,  before  he  had  completely  assimilated  the  style  of  Kiyonaga. 

Size,  15 %  x  10 %  inches.  Full  size.  Fine  impression,  in  very  fine 
condition.  See  illustration. 

216  Bunshichi  in  the  Yoshiwara.  The  famous  otokodate  Karigane  Bun- 
shichi  walking  in  a  street  in  the  Yoshiwara  and  talking  to  an  oiran. 
Series:  Tosei  Itsutsu  Gan,  i.  e.,  “Five  Modern  Geese.”  Signed, 
Katsu  Shuncho.  This  print  is  even  rarer  than  the  preceding  lot. 
It  probably  dates  back  to  1779  or  1780,  and  is  more  nearly  in  the 
style  of  Shunsho  than  any  other  prints  by  Shuncho,  with  only  two 
exceptions,  that  the  writer  of  this  catalogue  has  ever  seen. 

Size,  10%  x  7%  inches.  Fine  impression.  Faded  and  stained. 

Go  Gatsu.  “The  Fifth  Month.”  Two  women  in  a  house  and  a  youth 
standing  on  the  ground  outside,  all  engaged  in  looking  at  two  toy 
swords  on  a  wooden  sword-stand,  intended  for  the  celebration  of 
the  “Boys’  Festival”  on  the  fifth  day  of  the  fifth  month.  Series: 
Fuzoku  Ju-ni  Ivo,  i.  e.,  “Popularized  Twelve  Months.”  Signed, 
Shuncho. 

Size,  10  x  7%  inches.  Late  impression,  in  fair  condition. 

21S  Kyo  Shijo  Kawara  Yu-suzumi.  Cooling  off  in  the  evening  on  the  river 
bed  in  the  Sfiijo  district.  Kyoto.  Four  women  in  summer  attire 
near  a  tea-house  on  the  dry  river  bed  of  the  Kamo  river.  Right- 
hand  sheet  of  a  triptych.  Pictures  of  Kyoto  scenes  are  very  rarely 
found  in  the  works  of  the  Ukiyoe  artists  of  Edo.  Signed,  Shuncho. 

Size,  12%  x  8%  inches.  Good  impression,  in  fair  condition. 

219  New  Year’s  Day  in  the  Yoshiwara.  Segawa  of  Matsuba-ya  attended 
by  a  shinzo  and  by  her  kamuro  Sasano  and  Takeno,  on  her  way  to 
make  a  New  Year’s  call.  Series:  Seiro  Ju-ni  Ko.  i.  e., “The  Twelve 
Months  in  the  Green  Houses.”  Signed,  Shuncho. 

Size,  8%  x  6%  inches.  Late  impression;  good  condition. 

220  The  Seventh  and  Eighth  Months.  Two  pictures  on  one  sheet.  That  for 

the  seventh  month  shows,  in  a  fan-mount  shaped  panel,  three 
women  in  a  house  at  Shinagawa,  overlooking  Edo  bay.  Below  this, 
the  eighth  month  is  typified  by  a  scene  in  a  “Green  house”  where  an 
oiran  is  restraining  a  geisha  who  is  trying  to  leave  accompanied 


59 


First  Evening 


by  her  maid  bearing  her  samisen  in  a  black  box.  Series,  Ju-ni 
Ivo  Rokumai  Zoroi.  Signed,  Shuncho. 

Size,  15x9%  inches.  Fine  impression  in  good  though  not  perfect 
condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

221  The  Black  Zukin.  A  woman  with  her  head  covered  with  a  black  zukin 

returning  home  followed  by  a  boy  carrying  a  sake  bucket  in  which 
he  has  placed  a  stand  of  toy  bows  and  arrows.  Signed,  Shuncho. 
Hashira-e.  Size,  2f)  2  x  f%  inches.  Late  impression,  faded. 

222  The  First  Snow  of  Winter.  An  oiran  looking  down  at  her  kamuro 

who  has  rolled  a  large  snowball  and  is  blowing  upon  her  hands  to 
warm  them.  Signed,  Shuncho. 

Hashira-e.  Size,  25%  x  f%  inches.  Good  impression,  faded  and 
browned. 


223  Viewing  the  Maple  Trees  in  Autumn.  A  picnic  party  is  in  the  fore¬ 
ground.  Many  figures  of  people  on  a  path  between  green  hills 
in  the  background  and  on  a  level  plain  beyond  the  hills  are  admiring 
the  gay-colored  foliage.  First  and  second  sheets  of  a  triptych. 
Signed,  Shuncho. 

Diptych.  Size,  If  x  19%  inches.  Good  impression,  fair  condition. 


HOSODA  EISHI 

Pupil  of  Kano  Eisen,  and  of  an  artist  named  Bunryusai.  Real  name 
Hosoda  Jibukyd  Fujiwara  no  Tokitpmi.  Besides  the  studio  name  Eishi  he 
sometimes  signed  Chobunsai.  TFa.s  of  samurai  rank.  Born  1756;  died  August 
1,  1829.  Worked  as  a  print  designer  from  about  1788  to  about  1800. 

224  Returning  from  a  Temple  Visit.  Three  women  returning  along  a  path 

through  the  rice  fields  from  a  visit  to  a  Shinto  shrine.  One  of  the 
most  charming  of  Eishi’s  early  prints.  Signed,  Eishi. 

Size,  15  x  10%  inches.  Good  impression,  in  good  condition.  See 
illustration. 

225  The  Cuckoo.  Three  women  on  the  veranda  of  a  dwelling,  one  of  them 

standing  with  her  arm  about  the  corner  post  as  she  watches  a 
cuckoo  flying  by.  Series:  Sho-cho  Ju-ni  Kai,  i.  e.,  Twelve  kinds  of 
birds.  Signed,  Eishi. 

Size,  10 Ft  x  7 1%  inches.  Fair  impression,  not  in  perfect  condition. 


r 

226  Boating  on  the  Sumida.  Middle  sheet  of  a  triptych  showing  several 
pleasure  boats  on  the  Sumida  river  at  Mukojima.  Signed,  Eishi. 

Size,  15%  x  10%  inches.  Fine  impression.  Somewhat  stained. 


227 


Under  the  Cherry  Trees.  Right-hand  sheet  of  a  triptych  presenting 
a  mitate-e  or  transformed  version  of  a  court  lady  and  her  attendant 
maidens  on  a  cherry  flower  viewing  excursion.  Signed,  Eishi. 

Size,  15  x  8%  inches.  Good  impression,  hut  faded;  has  a  few  moth 
holes  and  has  been  trimmed  a  half  inch  on  either  side. 


228  Yanagi  Kai.  The  weeping-willow  shell.  This  is  a  fanciful  caption,  each 
of  the  prints  of  the  series  being  designated  by  a  small  drawing  of  a 
shell.  Two  women  are  shown  seated  beside  a  hibachi  and  a  third 


61 


First  Evening 


/ 


'  J  / 


woman  standing  near  them  and  exhibiting  a  weeping-willow  branch 
covered  with  “pussies.”  Signed,  Eishi. 

Size,  10l/i  x75/s  inches.  Good  impression,  but  not  in  good  condition, 
stained. 


229  Cherry  Blossom  Viewing  on  Gotenyama.  A  lady  who  has  arrived  in  a 
tnr  norimon,  hands  a  poem  slip  to  a  young  samurai  who  kneels  to  re¬ 
ceive  it  while  her  attendant  maids  respectfully  crouch  down  and 
other  women  stand  about  viewing  the  scene.  Go  ten  hill,  just  above 
Shinagawa  on  Edo  bay  at  the  southern  extremity  of  the  city,  was 
famous  for  its  cherry  trees.  Signed,  Eishi.  About  1792. 

Triptych.  Size,  14%  x  29fi  inches.  Good  impression,  but  faded  and 
trimmed  from  15  x  SO  inches. 


230 


Fuji  no  Uraha.  This  is  the  title  of  one  of  the  chapters  of  the  Genji 
Monogatari  in  which  is  related  the  reconciliation  between  Prince 
Genji  and  an  old  friend  from  whom  he  had  been  estranged.  Instead 
of  depicting  a  nobleman  coming  to  call  upon  the  prince,  preceded 
by  an  attendant  bearing  as  a  symbol  of  friendship,  a  wistaria  branch 
with  a  figure  of  a  swallow  perched  upon  it,  Eishi  presents  a  mitate-e 
or  transformed  version  and  shows  a  woman  of  the  middle  class 
coming  forward  from  a  court  wagon,  accompanied  by  women 
attendants,  one  of  whom  offers  the  peace  symbol  to  the  prince. 
Series:  Furyu  Yatsushi  Genji.  Signed,  Eishi. 

Triptych.  Size,  15  x  30  inches.  Good  impression.  Much  faded. 


Pleasure  Boats  on  the  River.  Several  large  boats  filled  with  women  are 
shown  congregated  near  Ryogoku  bridge,  which  appears  at  the  right. 
Four  sheets  of  a  pentaptych,  the  left-hand  sheet  lacking.  Signed, 
OJJ  'Eishi. 

Size,  each  sheet  15  x  10  inches.  Good  impression,  in  good  condition. 

Fair  Temple  Visitors.  Women  in  the  precinct  of  a  Buddhist  temple, 
looking  at  the  votive  gaku,  i.  e.,  framed  pictures,  hung  beneath  the 
roof  of  one  of  the  buildings,  and  wandering  about  the  grounds. 
Signed,  Eishi. 

Triptych.  Size,  15  x  29  inches.  Ordinary  impression,  good  condition. 


Ladies  at  a  Picnic.  Three  groups  of  women  under  cherry  trees  on  the 
bank  of  a  stream.  At  the  right  they  are  looking  at  turtles  that  are 


First  Evening 


62 


234 


235 


236 


237 

\ 

\ 

\ 


238 


10  r 

239 


240 


Cri 


0 


A  M 

swimming  in  a  large  flat  bronze  bowl;  at  the  leift  they  are  sailing 
cherry  blossoms  in  a  paper  boat.  Signed,  Eishi. 

Triptych.  Size,  15  x  28%  inches.  Late  impression,  in  fair  condition. 

Early  Morning.  A  woman  seated  before  a  mirror-stand  arranging  her 
hair;  and  another  woman  attired  in  a  bathrobe  standing  beside  her. 
Signed,  Eishi. 

Hashira-e.  Size,  27  x  47A  inches.  Not  in  very  good  condition. 

Admiring  the  Calligraphy.  Two  women  looking  at  an  inscription 
written  in  bold  characters  on  a  long  strip  of  paper.  Signed,  Eishi. 

Hashira-e.  Size,  24V. 2x4%  inches.  Ordinary  impression,  browned. 

Takashima-ya  O-Hisa.  Standing  figure  of  the  popular  waitress, 
O-Hisa  of  the  Takashima  tea-house.  Signed,  Eishi. 

Hashira-e.  Size,  25%  %4Vi  inches.  Ordinary  impression,  poor  condition. 

The  Moto  Yanagi-ya  Shop  at  Asakusa.  This  shows  the  tooth  brush 
and  cosmetic  shop  in  the  precinct  of  Kinryusan  temple  as  it  appeared 
twenty  years  after  it  was  made  famous  by  Harunobu  who  designed 
many  prints  in  the  year  1769  depicting  O-Fuji,  the  daughter  of  the 
then  proprietor,  seated  in  the  shop  and  waiting  upon  the  customers. 
It  is  here  seen  in  the  background,  through  the  projecting  corner  of 
another  building.  Right-hand  sheet  of  a  triptych.  Signed,  Eishi. 

Size,  15  x  9%  inches.  Fair  impression,  in  good  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

Low  Tide  at  Shinagawa.  Three  women  in  a  large  boat  stranded  high 
up  on  the  beach  at  low  tide.  One  of  them  is  seated  before  a  kamedo 
placed  amidships  and  is  heating  water  to  cook  the  clams  that  one 
of  her  companions  brings  in  a  wooden  bucket.  Middle  sheet  of  a 
triptych.  Signed,  Eishi.  Seal,  Chobun. 

Size,  14%  x  10  inches.  Good  impression,  but  not  in  good  condition; 
stained  and  faded. 

A  Popular  Yoshiwara  Beauty.  Hanaogi  of  Ogiya  attended  by  a  shinzo 
and  by  her  kamuro  Yoshino  and  Tatsuta.  Signed,  Eishi. 

Size,  13  x  8%  inches.  Fine  impression,  in  perfect  condition,  the  colors 
quite  unfaded. 

A  Real  Benten.  A  geisha  seated,  with  a  biwa  (a  kind  of  lute)  resting 
against  the  wall  behind  her.  She  is  regarded  as  an  embodiment  of 
the  Fortune  Goddess  Benten.  Series:  Fukujin  Takara  Awase,  i.  e., 
Assemblage  of  Fortune-beings  Treasures.  Signed,  Eishi.  Not- 


63 


First  Evening 


able  for  the  virtuosity  and  beauty  of  the  calligraphic  outlines,  and 
for  the  rhythmic  repetition  in  the  draperies  of  the  oval  form  of 
the  biwa. 

Size,  1414x10  inches.  Fine  impression,  slightly  faded  but  otherwise 
in  fine  condition. 


No.  241 

241  Kisegawa  or  Matsuba-ya.  The  popular  Yoshiwara  beauty  is  shown 
seated,  looking  at  a  Tosa  painting  mounted  as  a  makimono.  Series: 
Seiro  Bijin  Rok-ka-sen,  i.  e.,  “Six  Beautiful  Poets  of  the  Green¬ 
houses.”  Signed,  Eishi.  This  print  is  another  important  example 
of  Eishi’s  masterly  brush  strokes  and  rhythmic  line  composition. 

Size,  15}/i  x  10l/i  inches.  Full  size.  Fine  impression,  in  fine  condi¬ 
tion.  See  illustration. 

From  the  collection  of  Frederick  W.  Gookin. 


First  Evening 


64 


242  Kisegawa  of  Matsuba-ya.  Another  impression,  also  full  size  and  in 

fine  condition.  Later  printing  in  stronger  colors  that  are  as  bright 
as  when  first  printed. 

KUBO  SHUNMAN 

Personal  name  Kubota  Yasubei.  Studied  under  obscure  'painters ,  then 
under  Shigemasa.  His  works  are  greatly  admired  for  their  esoteric  quality. 
Designed  many  surimono.  Born  1757;  died  October  26,  1820.  His  studio 
name  though  written  with  the  characters  “Shun”  and  “Man,”  should  be  pro¬ 
nounced  Shumman. 

243  Cherry  Blossoms  and  Feathers.  Two  cherry  branches  with  double 

white  blossoms  in  gauffrage,  and  two  tail  feathers  of  a  pheasant. 
Surimono.  Not  signed. 

Size,  7V8x  7  inches.  Fine  impression,  in  perfect  condition. 

244  Cypripedium.  Pink  and  white  blossoms  and  pale  yellowish  green 

foliage.  Surimono.  Not  signed. 

Size,  7 ]/%  x  7 y$  inches.  Good  impression,  good  condition. 

245  Night  Scene :  Going  Home  from  a  Party.  A  young  man,  three  women 

and  a  boy  wending  their  way  along  a  street  by  a  tea-house,  pre¬ 
ceded  by  a  man-servant  carrying  a  lantern.  The  tea-house  shows 
beyond  the  fence  and  in  a  second-story  room  a  woman  and  two 
men,  one  of  them  reading  a  book,  are  grouped  before  a  Sosho,  or 
teacher  of  poetical  composition  who  sits  at  a  low  table.  Second  and 
third  sheets  of  a  triptych.  Printed  in  grays  and  black  with  color 
where  the  rays  from  the  lantern  and  the  candle  in  the  tea-house 
room  bring  it  out.  Signed,  Shosado  Kubo  Shunman. 

Diptych.  Size,  15  x  20  inches.  Good  impression,  somewhat  browned. 

KATSUKAWA  SHUNSHO 

1726-1793 

Portraits  of  Actors.  All  of  hosoe  size,  fair  impressions  in  fair  condition, 
and  signed  Shunshd. 

246  The  First  Nakamura  Nakazo  as  a  daimyo  dressed  in  nagabakama 

brandishing  a  mirror. 


65 


First  Evening 


The  First  Nakamura  Nakazo  as  an  otokodate  in  a  kimono  with  broad 
pink  and  violet  stripes. 

Onoe  Matsusuke  as  an  otokodate. 


The  First  Onoe  Kikugoro  as  a  daimyo  holding  a  drawn  sword  and 
standing  by  a  norimon  that  rests  upon  the  ground. 

The  First  Nakamura  Noshio  dancing  “Shakkyo,”  the  “Stone  bridge” 
sliosa.  Shosa  is  a  form  of  mimetic  dance  peculiar  to  the  theatre. 
The  Shakkyo  shosa  represents  the  gambols  of  two  mythical  Chinese 
lion  cubs  (karashishi)  playing  among  peonies  growing  about  the 
ends  of  a  small  stone  bridge. 

Not  in  very  good  condition;  faded,  and  damaged  at  the  rigid  where  it  in 
covered  by  the  mat. 

From  the  collection  of  Ernest  F.  Fenollosa. 


tV*~+4  f 


SECOND  SESSION 

THURSDAY  EVENING,  NOVEMBER  17,  1921 
BEGINNING  AT  8:00  O’CLOCK. 

Catalogue  numbers  251  to  500 


No.  251 

KATSUKAWA  SHUNSHO 

1726-1793 

Portraits  of  Actors.  All  of  hosoe  size,  except  as  noted;  fair  impressions, 
in  fair  condition,  signed  Skunsho. 

251  Three  Actors  of  Women’s  Roles.  Right:  the  second  Osagawa  Tsuneyo 
as  Haru,  wife  of  Umeomaru;  middle:  the  fourth  Iwai  Hanshiro 
as  Yae,  wife  of  Sakuramaru;  left:  the  first  Nakamura  Noshio  as 
Chiyo,  wife  of  Matsuomaru,  in  a  famous  performance  of  “Sugawara 

66 


67 


Second  Evening 


Denju  Tenarai  Kagami”  at  the  Ichimura  theatre  which  drew  full 
houses  from  about  the  middle  of  August  until  November  1776. 

Hosoe  triptych.  Size,  12}/ix  16]/ §  inches.  Fine  impression,  good  con¬ 
dition.  See  illustration. 

252  The  Fourth  Iwai  Hanshiro  as  a  lady  of  rank  holding  one  end  of  an 

unrolled  makimono. 

253  The  Fourth  Iwai  Hanshiro  as  a  woman  holding  a  samisen. 

254  The  Fourth  Iwai  Hanshiro  as  a  woman  dancing  on  New  Year’s  day 

and  beating  a  drum. 

255  The  Third  Segawa  Kikunojo  as  a  tall  woman  in  a  flat  straw  hat, 

standing  in  a  field;  Mt.  Fuji  in  the  background. 

256  The  Second  Bando  Mitsugoro  dressed  in  kamishimo  for  the  morning 

ceremonies  at  kaomise,  the  theatrical  “New  Year,”  or  opening  of 
the  season,  usually  held  in  the  eleventh  month  of  the  year,  which 
might  correspond  to  either  November  or  December  of  our  calendar. 

257  The  Second  Bando  Mitsugoro  as  a  man  standing  by  a  tall  washtub 

on  the  bank  of  a  river,  and  holding  a  kinuta  or  wooden  pounder. 

258  The  Second  Bando  Mitsugoro  as  An  no  Heiemon,  one  of  the  Gonin 

Otoko  or  Five  Otokodate,  in  “Hatsu-monbi  Ivuruwa  Soga”  at 
Nakamura-za,  February  1780. 

259  The  Third  Sawamura  Sojuro  as  Soga  no  Juro.  This  was  one  of  his 

favorite  roles.  He  played  it  in  1780,  1781,  1782,  1785,  1789, 
1790,  and  1791.  This  print  probably  depicts  him  in  one  of  the 
earlier  performances. 

260  The  Third  Sawamura  Sojuro  as  a  man  standing  with  arms  folded. 

261  The  Third  Sawamura  Sojuro  in  his  dressing  room  at  the  theatre.  He 

is  wrapped  in  a  bathrobe,  and  is  drying  his  ear  as  he  listens  to  the 
third  Segawa  Kikunojo  who  has  dropped  in  upon  him  and  is  seated 
on  the  floor.  Back  of  Kikunojo  is  a  box  containing  Soj uro’s  wigs 
for  use  on  the  stage. 

Size,  15  x  10  inches.  Good  impression,  in  fair  condition.  Faded. 

262  The  First  Nakamura  Nakazo  and  the  Fifth  Ichikawa  Danjuro.  They 

stand  on  the  bank  of  a  river  and  are  reading  a  makimono  which 
they  are  unrolling.  Danjuro  holds  an  oar  and  a  straw  hat. 

Hosoe  diptych.  Left  sheet  only  signed. 


68 


No.  268 


69 


Second  Evening 


263  Scene  from  a  Drama.  Onoe  Matsusuke  (right)  and  the  third  Sawa- 

mura  Sojiiro  as  two  men  standing  beside  a  long  wooden  table, 
engaged  in  a  controversy,  Matsusuke  holding  a  spear  and  Sojiiro 
a  drawn  sword. 

Hosoe  diptych. 

264  Nakamura  Riko  as  (?)  Oiso  no  Tora  in  “Gohiiki  Nennen  Soga”  at 

Nakamura-za,  February  1779. 

CHUSHINGURA 

The  dramatized  version  of  the  story  of  the  vendetta  of  the  Forty-seven  Loyal 
Ronin.  Three  prints  of  the  series.  Each  signed  Shunshd.  Size,  about  10  x  7% 
inches.  Late  impressions,  in  fair  condition. 

265  Scene  from  Act  I.  Wakanosuke  sees  Moronao  offer  a  love  letter  to 

the  lady  Kaoyo,  wife  of  Enya  Hangwan. 

266  Scene  from  Act  VII.  Heiemon  slashing  the  spy  Kudavu  with  Yurano- 

suke's  sword  while  0  Karu  looks  on. 

267  Scene  from  Act  II.  The  interview  between  Konami  and  her  lover 

Rikiya,  son  of  Yuranosuke. 

268  Five  Famous  Actors  as  the  Gonin  Otoko.  Beginning  at  the  right,  the 

second  Ichikawa  Monnosuke  as  Karigane  Bunshichi.  the  second 
Bando  Mitsugoro  as  An  no  Heiemon,  the  fifth  Ichikawa  Danjuro  as 
Gokuin  Senemon,  the  third  Nakamura  Sukegoro  as  Kaminari 
Shokuro,  and  the  third  Sakata  Hangoro  as  Hotei  Ichiemon,  in 
“Hatsu  Monbi  Kuruwa  Soga”  at  the  Nakamura  theatre,  Edo. 
February  1780.  Each  sheet  signed,  Shunsho. 

Pentaptych.  Size,  12%  x  27%  inches.  Good  impression,  in  fine  con¬ 
dition.  See  illustration. 

UTAGAWA  KUNISADA 

Pupil  of  Toyokuni  I.  Personal  name  Tsunoda  Shozo.  Used  many  studio 
names  besides  Kunisada  among  which  Ichiyusai,  Gototei,  and  Kdchdro  were 
the  most  common.  He  also  called  himself  Toyokuni  II,  but  as  Toyoshige  ( other¬ 
wise  known  as  Kosotei  Toyokuni )  had  previously  taken  that  name,  he  should  be 
known  as  Toyokuni  III .  Born  17S6;  died  1864- 


Second  Evening 


70 


269  Figures  in  the  Fog.  A  geisha  in  the  foreground  where  the  light  stream¬ 

ing  from  a  lantern  strikes  full  upon  her,  while  in  the  background 
the  shadowy  form  of  a  bellman  running  at  full  speed  and  the  out¬ 
stretched  finger  of  a  pursuer  are  seen  through  enveloping  fog.  One 
sheet  of  a  triptych.  Signed,  Gototei  Kunisada. 

Size,  14/8%  4A  inches.  Fine  impression  and  in  perfect  condition 
except  somewhat  trimmed. 

From  the  collection  of  Ernest  F.  Fenollosa. 

270  Hinmachi  of  Daikoku-ya.  A  gaudily  dressed  oiran  turning  as  she 

mounts  the  steps  to  a  tea-house  and  looking  around  at  some  one 
not  shown  in  this  sheet  which  is  part  of  a  triptych.  Signed,  Gototei 
Kunisada. 

Size,  14%  x  91/ 8  inches.  Fine  impression,  in  good  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

271  The  Element  of  Fire.  Standing  figure  of  a  geisha,  without  background 

except  blank  paper  upon  which  two  odes  are  printed.  In  the  upper 
left-hand  corner  is  a  small  picture  of  fireworks  at  Ryogoku.  Series: 
Okonomi  Geisha  no  Uchi,  i.  e.,  “Your  loving  Geisha,  and  the  Five 
Elements.”  Signed,  Gototei  Kunisada. 

Size,  14  Y\  x  10/4  inches.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

272  Woman  Carrying  a  Taku.  A  taku  is  a  stand  or  table  upon  which  food 

is  set  out.  Two  women  are  shown  in  this  sheet  which  is  part  of 
a  triptych,  one  of  them  stands  looking  at  the  other  who  bends  over 
from  the  weight  of  a  taku  laden  with  dishes  of  food,  one  end  of 
which  she  lifts  while  carrying  it  with  the  aid  of  some  one  shown 
in  the  adjoining  sheet,  which,  however,  is  not  among  the  prints 
offered  in  this  sale.  Signed,  Gototei  Kunisada. 

Size,  14%  x  9  ys  inches.  Fine  impression.  Trimmed  at  head  and  foot; 
otherwise  in  good  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

273  At  Ise.  A  geisha  standing  in  the  parlor  of  a  house  at  Ise  which  is 

connected  by  a  wooden  bridge  with  one  of  the  temple  buildings 
where  a  dance  by  the  miko  is  in  progress.  She  faces  the  dancers 
but  turns  to  look  at  some  one  not  shown  in  this  sheet  which  is 
part  of  a  triptych.  Signed,  Gototei  Kunisada. 

Size,  14 Vs  x  91/ s  inches.  Fine  impression,  good  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 


71 


Second  Evening 


274  Looking  into  the  Garden.  A  geisha  standing  on  the  veranda  of  a 

dwelling  looking  into  the  garden,  probably  at  some  one  not  shown 
in  this  sheet.  Signed,  Gototei  Kunisada. 

Size,  14%  x  9 14,  inches.  Good  impression,  in  good  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

275  A  Tea-house  Waitress.  She  is  seated  on  a  platform  of  the  tea-house 

and  holds  a  black  lacquer  serving  tray.  Series:  Tosei  Bijin  Ryaku 
Ivonomi,  i.  e.,  “Modern  women’s  select  fashions.”  Signed,  Gototei 
Kunisada. 

Size,  14%  x  inches.  Fine  impression,  in  fine  condition  save  that 
it  is  trimmed  3d  inch  at  the  foot. 

From  the  collection  of  Ernest  F.  Fenollosa. 

276  A  Geisha  in  a  Temple  Garden.  She  stands  on  the  ground  near  several 

large  flat  stepping  stones  at  the  foot  of  a  flight  of  steps.  Middle 
sheet  of  a  triptych.  Signed,  Gototei  Kunisada. 

Size,  14/4  x  10  inches.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

277  By  Kamo  the  River.  A  geisha  standing  on  the  bank  of  the  stream: 

houses  of  a  village  on  the  further  shore,  and  mountains  in  the  back¬ 
ground.  Printed  in  tones  of  blue.  Left-hand  sheet  of  a  triptych. 
Signed,  Gototei  Kunisada. 

Size,  1 4  %  x  9 34  inches.  Register  not  perfect;  one  large  moth  hole  in 
the  sky. 

278  Two  Geisha  in  a  Snow  Storm.  They  are  walking  together  under  a 

large  umbrella  at  the  foot  of  a  flight  of  steps  leading  to  a  Shintb 
shrine.  Signed,  Gototei  Kunisada. 

Size,  14/4  x  9f  g  inches.  Fine  impression,  slightly  trimmed  down, 
otherwise  in  perfect  condition.  See  illustration. 

From  the  collection  of  Ernest  F.  Fenollosa. 

270  Tsuki  no  Kage  Shinobi  au  Yo.  A  woman  placing  a  lighted  andon  in 
position  to  guide  her  lover  to  a  night  tryst.  Signed,  Kochoro 
Kunisada. 

Size,  14%  x  9%  inches.  Fine  impression,  slightly  trimmed,  otherwise 
in  perfect  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

280  A  Geisha  Seated  on  a  Huge  Joruri  Book.  Other  huge  books  are  piled 
behind  her,  and  all  are  open  displaying  the  text  of  “O-Chiyo  Hanbei 


Second  Evening 


72 


No.  27S 

Yoi  Koshin,”  the  story  of  an  evening  love  meeting  between  O-Chiyo 
and  Hanbei.  Signed,  Kochoro  Kunisada. 

Size,  U%xlO  inches.  Fine  impression,  in  fine  condition  save  for  a 
horizontal  crease  across  the  centre. 

From  the  collection  of  Ernest  F.  Fenollosa. 

281  A  Woman  Chasing  Fireflies.  Night  scene.  The  woman  uses  a  fan  to 

aid  her  in  capturing  the  hoteru  for  the  purpose  of  imprisoning 
them  in  a  small  cage.  Signed,  Kochoro  Kunisada. 

Size,  14/4  x  9fi  inches.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

282  Under  the  Cherry  Trees.  Right-hand  sheet  of  a  triptych.  A  woman  in 

gay  attire  is  shown  bearing  rice  in  a  huge  decorated  covered  bowl 
upon  a  wooden  stand.  Signed  Kochoro  Kunisada. 

Size,  14Ys  x  9fis  inches.  Fine  impression,  in  fine  condition  save  that  it 
is  trimmed  down  from  15  x  10  inches. 

From  the  collection  of  Ernest  F.  Fenollosa. 


73 


Second  Evening 


283  Under  the  Cherry  Trees.  Another  sheet  from  the  same  triptych.  A 

woman  standing  under  a  tree  in  full  bloom,  holding  a  lantern. 
Signed,  Kochoro  Kunisada. 

Same  size  and  condition  as  the  preceding  lot. 

284  Viewing  the  Plum  Blossoms  at  Ume  Yashiki.  A  geisha  standing  by 

one  of  the  ancient  plum  trees  in  the  famous  garden.  Middle  sheet 
of  a  triptych.  Signed,  Kochoro  Kunisada. 

Size,  x  9%  inches.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

285  The  Woman  in  Blue.  A  courtesan  dressed  in  a  blue  outer  garment  and 

a  black  zukin,  walking  in  a  snow  storm.  Signed,  Kochoro  Kunisada. 

Hashira-e.  Size,  28  x  9%  inches.  Good  impression,  slightly  trimmed 
and  has  several  moth  holes;  otherwise  in  good  condition. 

UTAGAWA  HIROSHIGE 

1797-1858 

Tokaido  Go-Ju-San  Tsugi  no  Uchi.  “The  Fifty-three  Post-stations  of 
the  Tokaido,”  known  as  the  First  Tokaido  series.  Twenty-three  out  of  the  fifty - 
five  prints  comprising  the  set,  and  one  duplicate.  Each  signed,  Hiroshige.  Size, 
about  9  x  14.  inches. 

286  Nihon  Bashi.  The  first  design  showing  the  vanguard  of  a  Daimyo 

cortege  coming  over  the  bridge.  No.  1  of  the  series. 

Good  impression,  in  poor  condition. 

287  Fujisawa.  View  of  the  village  and  Yuyoji  Buddhist  temple  on  a  hill 

beyond  it.  No.  7. 

Good  impression,  in  good  condition. 

288  Oiso,  Tora  no  Ame.  “Tiger  rain  at  Oiso.”  No.  9. 

Good  impression,  fair  condition. 

289  Hakone.  View  of  the  lake  with  rugged  hills  at  the  right  and  a  Daimyo 

cortege  winding  down  the  narrow  road  between  them.  No.  11. 

Fine  impression,  in  good  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

290  Mishima.  A  foggy  morning.  Travellers  on  horseback  and  in  a  kago. 

One  of  the  noted  prints  of  the  series.  No.  12. 

Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 


Second  Evening 


74 


291  Hara,  Asa  no  Fuji,  i.  e.,  Morning  view  of  the  mountain,  seen  across 

the  rice  fields.  No.  14. 

Good  impression,  in  fair  condition. 

292  Mariko.  View  of  the  “Celebrated  Products  Tea-house.”  Very  fine 

impression  of  the  earliest  printing,  with  the  error  in  the  name  of 
the  station  which  reads  Maruko  instead  of  Mariko.  The  mistake 
wras  soon  discovered  and  corrected.  No.  21. 

In  fine  condition. 

293  Mariko.  Another  fine  impression,  also  of  the  first  edition,  but  printed 

after  the  change  in  the  place  name. 

In  fine  condition  . 

294  Okabe,  Utsu  no  Yama.  The  road  leading  up  the  green  slopes  of  Utsu 

hill.  No.  22. 

Fine  impression,  in  good  condition.  See  illustration. 

295  Fujieda,  Hito  Uma  Keitatsu.  Changing  horses  and  porters  at  the 

station.  No.  23. 

Fine  impression,  in  good  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

296  Shimada,  Oigawa  Shun  Gan.  The  steep  bank  of  the  Oi  river  at 

Shimacla;  a  Daimyo  procession  crossing.  No.  24. 

Fine  impression;  good  condition. 

297  Kanaya,  Oigawa  Em  Gan.  The  far  bank  of  the  Oi  river.  No.  25. 

Fine  impression,  in  fine  condition. 

298  Nissaka,  Sayo  Nakayama.  The  pass  over  Sayo  mountain;  travellers 

looking  at  “The  Night-crying  Stone.”  No.  26. 

Fine  impression;  good  condition. 

299  Shirasuka,  Shio-mi  Zaka.  View  from  the  slope  of  Sea-view  Hill;  a 

Daimyo  cortege  coming  down  the  roach  No.  33. 

Fine  impression,  in  fair  condition. 

300  Yoshida,  Toyokawa  Hashi.  View  of  Yoshida  and  the  bridge  over  the 

Toyo  river.  No.  35. 

Fine  impression;  good  condition. 

301  Goyu,  Tabibito  Ryujo.  The  travellers  Yajirobei  and  Kidahachi, 

characters  in  a  famous  comic  tale,  beset  by  servants  of  rival  inns 
at  Goyu.  No.  36. 

Fine  impression,  in  fine  condition. 


75 


Second  Evening 


302  Akasaka,  Ryosha  Matsuhashi-ya.  View  of  the  river  at  the  station;  a 

guest  being  served  with  refreshments,  another  wrapped  in  a  bath¬ 
robe  standing  on  the  veranda.  No.  37. 

Fine  impression,  in  fine  condition. 

303  Fujikawa  bo  Bana.  View  of  the  entrance  to  the  village.  Three  men 

bowing  down  as  a  Daimyo  cortege  approaches.  No.  38. 

Fine  impression,  in  fine  condition. 


No.  294 

304  Okazaki,  Tenshin  no  Hashi.  The  bridge  across  the  Tenshin  river  at 

Okazaki.  No.  39. 

Fine  impression,  in  fine  condition. 

305  Narami,  Meibutsu  Aiimatsu  Shibori.  View  of  the  shops  for  the  sale 

of  the  celebrated  product,  the  dyed  cotton  cloth  called  shibori, 
made  at  the  neighboring  village  of  Arimatsu.  No.  41. 

306  Kuwana,  Shichi-ri  Watashi  Guchi.  The  mouth  of  the  Seven-ri  Ferry 

at  Kuwana.  No.  43. 

Fine  impression,  in  fine  condition. 

307  Shono,  Haku-u.  A  shower  at  Shono.  One  of  the  famous  prints  of  the 

series.  No.  46. 

Very  fine  impression,  in  fine  condition.  See  illustration. 

From  the  collection  of  Frederick  W.  Gookin. 


Second  Evening 


76 


No.  307 


308  Mizukuchi,  Meibutsu  Kampyo.  View  of  the  village  and  women  slicing 

and  drying  gourds  to  make  kampyo,  the  famous  product  of  the 
station.  No.  51. 

Fine  impression,  in  fine  condition. 

309  Ishibe,  Megawa  Sato.  The  village  of  Megawa  at  Ishibe.  No.  52. 

Exceptionally  fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 


310  Two  Prints  of  the  half-block  Tokaido  set  published  by  Sano-ya  Kihei. 

Hodogaya;  a  wayside  tea-booth  at  the  station.  Totsuka;  view  of 
the  station  from  the  highroad.  Each  signed,  Hiroshige. 

Size,  6fi  x  8 inches.  Ordinary  impressions,  fair  condition. 


TOKAIDO 

The  quarter-block  set  published  by  Arita-ya  Seiemon.  Eleven  prints  of  the 
series,  each  signed  Hiroshige.  Size,  not  including  the  gray  borders,  about  fx6 
inches.  All  fine  impressions,  most  of  them  in  good  condition. 

Regarding  the  prints  of  this  set,  a  discriminating  connoisseur  once  said  to 
the  writer  of  this  catalogue:  “Collectors  who  estimate  the  value  of  a  print  by  the 
square  inch  will  not  appreciate  them.  But  look  cd  them!  Just  LOOK  at  them!” 


Second  Evening 


77 


311  Five  Prints  of  the  Set.  No.  3.  Kawasaki,  the  ferry  over  the  Rokugo 

river.  No.  15.  Yoshiwara.  No.  19.  Ejiri,  distant  view  of  Miho 
beach.  No.  22.  Okabe,  the  road  leading  up  Mount  Utsu.  No.  23. 
Fujieda,  travellers  fording  the  river. 

312  Six  Prints  of  the  Set.  No.  24.  Shimada,  the  ford  of  the  Oi  river. 

No.  28.  Fukuroi,  setting  forth  from  the  village.  No.  36.  Goyu, 
the  bridge  at  the  entrance  to  the  village.  No.  38.  Fujikawa,  the 
mountain  village  and  adjacent  hills,  white  with  snow.  No.  45. 
Ishiyakushi,  view  of  the  village.  No.  50.  Tsuchiyama. 

FUJI  SAN-JU-ROK-KEI 

“Thirty-six  views  of  Fuji.”  Hiroshige's  latest  series  of  'prints  designed 
shortly  before  his  death  in  1858  and  published  the  next  year.  Especial  pains 
were  taken  to  produce  them  in  a  manner  worthy  of  him  and  so  as  to  add,  to  his 
fame.  Six  prints  of  the  series.  Each  signed,  Hiroshige. 

Size,  13l/i  x  8}^  inches.  All  good  impressions,  in  good  condition. 

313  Toto  Sukiyagashi.  View  of  Fuji  from  Sukiyagashi,  Edo,  on  a  winter 

day  after  a  snowfall. 

From  the  collection  of  Frederick  W.  Gookin. 

314  Izu  no  Sanchu.  View  of  Fuji  from  the  heart  of  the  mountains  in  the 

province  of  Izu,  a  waterfall  in  the  background. 

315  Tokaido  Yoshiwara.  The  mountain  seen  from  Yoshiwara  station  on 

the  Tokaido. 

From  the  collection  of  Frederick  W.  Gookin. 

316  Shimosa  Hara.  The  mountain  seen  from  a  field  in  the  province  of 

Shimosa  where  horses  are  at  pasture. 

317  Zoshigaya.  View  of  Fuji  from  the  Fuji-view  Tea-house  at  Zoshigaya. 

318  Musashi  Koganei.  Fuji  seen  through  a  great  hole  in  the  trunk  of  a 

cherry  tree  at  Koganei  in  the  province  of  Musashi. 

From  the  collection  of  Frederick  W.  Gookin. 

FUJI  SAN-JU-ROK-KEI 

“Thirty-six  views  of  Fuji.”  Two  prints  of  the  half-block  set.  Each 
signed,  Hiroshige. 

Size,  6f 8  x  8%  inches.  Fine  impressions,  in  fine  condition. 


Second  Evening 


78 


319  Kazusa  Kanzan  Torii  Saka.  Fuji  seen  from  the  torii  of  the  Kanzan 

shrine,  province  of  Kazusa. 

From  the  collection  of  Frederick  W.  Gookin. 

320  Suruga  Tago  no  Ura.  View  of  Fuji  from  Tago  on  the  sea,  province 

of  Suruga. 

ROKU-JU-YO  SHU  MEISHO  ZU  KWAI 

“  Famous  Sights  in  the  Sixty-odd  Provinces Two  of  the  series  of  sixty- 
nine  prints.  Each  signed,  Hiroshige.  Size,18fix8J4  inches.  Fine  impressions, 
in  fine  condition  . 


No.  321 

321  Awa  Naruto  no  Fuha.  “Rough  water  at  Naruto  in  Awa.”  View  of 
the  famous  whirlpool  in  Naruto  strait. 

Fine  impression,  in  fine  condition.  See  illustration. 


79 


Second  Evening 


322  Tsushima  Kaigan  Yasei.  Clear  evening  at  the  sea-shore  in  Tsushima, 

a  rainbow  spanning  the  sky. 

HIROSHIGE  AND  EISEN 

Kisokaido  Roku-J u-Ku  Tsugi.  “  The  Sixty-nine  Post-stations  of  the 
Kisokaido.”  Eighteen  prints  of  the  series  and  one  duplicate.  Eleven  of  the 
subjects  ivere  designed  by  Hiroshige  and  bear  his  signature.  Eight  are  by  Eisen. 
Four  of  them  are  signed,  and  four  are  not.  All  the  prints  designed  by  Eisen 
for  this  series  were  signed  by  him  and  the  signature  appears  upon  impressions 
of  the  first  edition  issued  by  Take-Uchi.  When  the  blocks  were  acquired  by 
Ise-ya  Rihei,  the  signature  of  Eisen  was  removed,  and  presumably  Hiroshige’s 
name  only  was  advertised. 

Size,  about  Sfj,  x  ISff,  inches. 

323  Warabi  no  Tsugi,  Todogawa  Watashi.  The  ferry  over  the  Todo  river 

at  Warabi.  A  boat  carrying  several  passengers  and  a  horse  being 
poled  across  the  stream.  By  Eisen.  Not  signed.  No.  3  of  the 
series. 

Fine  impression,  in  fine  condition. 

324  Urawa  Shuku  Asamayama  Embo.  Distant  view  of  Mt.  Asama  from 

Urawa  station.  No.  4.  By  Eisen.  First  edition.  Signed,  Eisen. 
Fine  impression,  in  good  condition. 

325  Ageo  Shuku  Kamo  no  Yashiro.  The  Kamo  Shinto  shrine  at  Ageo 

station.  Its  blue  roof  appears  behind  the  banners  at  the  right 
of  the  rest-house.  By  Eisen.  Not  signed.  No.  6. 

Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

326  Okegawa  Shuku  Kogen  no  Kei.  View  of  the  wide  field  at  Okegawa. 

A  woman  seated  before  the  rest-house  is  stripping  willow  wands 
for  weaving  baskets,  and  a  traveller  stops  to  inquire  his  way. 
By  Eisen.  Not  signed.  No.  7. 

Fine  impression.  Except  for  a  centre  fold,  in  fine  condition. 

327  Konosu  Fuki-age  Fuji  Embo.  Distant  view  of  “The  erupted  Fuji” 

from  Konosu.  By  Eisen.  Not  signed.  No.  8. 

Good  impression,  in  fair  condition. 


Second  Evening 


80 


328  Oiwake  Jiku  Asamayama  Chobo.  View  of  the  cone  of  Mt.  Asama  from 

Oiwake.  By  Eisen.  First  edition.  Signed,  Keisai.  No.  21. 

Fine  impression.  Not  in  very  good  condition. 

329  Odaii.  Four  pilgrims  to  Mt.  Asama  crossing  the  moor  covered  with 

tall  Suzuki  grass,  through  which  a  narrow  stream  meanders.  Signed, 
Hiroshige.  No.  22. 

Fine  impression.  Not  in  very  good  condition. 

330  Yawata.  View  of  a  narrow  river  winding  around  a  high  bank  on  which 

the  station  is  located,  and  villagers  crossing  the  stream  on  a  plank 
footbridge.  Beyond  the  station  is  a  bamboo  grove,  and  blue 
mountains  are  in  the  distance.  Signed,  Hiroshige.  No.  25. 

Fine  im  pression,  in  fine  condition  . 


No.  331 

331  Mochizuki.  View  of  the  road  bordered  by  tall  cryptomerias,  leading 

uphill  at  the  left.  The  full  moon  shining  through  the  branches 
and  the  deep  blue  sky  produce  a  charming  effect.  Signed,  Hiroshige. 
No.  26. 

Fine  impression,  in  fine  condition.  See  illustration. 

332  Shiojiri  Toge  Suwa  no  Kosui  Hibo.  “View  of  the  frozen  Lake  Suwa 

from  Shiojiri  pass.”  Signed,  Eisen.  No.  31. 

Fine  impression  of  the  first  edition.  In  perfect  condition  save  for  a 
vertical  crease.  Fine  impressions  of  this  print  are  very  rare. 


81 


Second  Evening 


333  Fukushima.  View  of  the  barrier  gate  and  guard  house  at  the  entrance 

to  the  station.  Signed,  Hiroshige.  No.  38. 

Fine  impression,  but  would  be  much  finer  if  the  dark  green  tone  extended 
clear  across  the  bank  at  the  right  as  it  does  in  the  finest  impressions.  In 
very  good  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

334  Tsumago.  View  of  the  road  cut  in  the  hillside,  leading  up  to  the 

Magome  pass.  Signed,  Hiroshige.  No.  43. 

Fine  impression,  in  good  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

335  Tsumago.  Another  impression,  later  printing.  In  fair  condition. 

336  Okute.  View  of  a  peculiar  outcropping  of  rocks  on  the  side  of  a  hill  on 

the  road  leading  over  the  Biwa  pass,  up  which  two  peasants  toil, 
bearing  heavy  bundles  of  faggots.  Signed,  Hiroshige.  No.  48. 

Fine  impression.  Has  been  cut  in  two  vertically  in  the  middle  and 
joined  together  so  neatly  that  the  damage  is  scarcely  noticeable. 

337  Hosokute.  View  of  the  village,  seen  through  two  great  pine  trees  that 

lean  toward  each  other  across  the  roach  Signed,  Hiroshige.  No.  49. 
Ordinary  impression,  not  perfect  in  register.  Good  condition. 

338  Ontake.  This  station  is  also  called  Mitake.  View  of  the  shelter  at  the 

summit  of  the  pass  over  the  mountain,  where  many  travellers  are 
halting  for  rest  and  refreshment.  The  gray  mass  of  Koma-ga-take 
is  seen  in  the  distance.  Signed,  Hiroshige.  No.  50. 

Fine  impression,  fine  condition. 

339  Kisoji  no  Eri  Koto  Nagara-gawa  Ukai  Bune.  Fishing  by  night  with 

cormorants  from  boats  on  the  Nagara  river  at  Koto  station.  Signed, 
Eisen.  No.  55. 

Fine  impression.  In  good  condition  save  that  rice  paste  on  the  back, 
from  some  previous  mounting,  prevents  it  from  lying  quite  flat. 

340  Mieiji.  View  of  the  village  roofs  seen  across  the  fields  against  the  red 

glow  of  the  evening  sky.  On  a  hillside  at  the  right,  between  a 
bamboo  grove  and  camellia  trees  in  bloom,  a  wandering  priest  stops 
a  farmer  and  his  wife  as  they  are  going  homeward,  to  inquire  the 
way  to  the  station.  Signed,  Hiroshige.  No.  56. 

Good  though  not  perfect  impression,  in  good  condition. 

From  the  collection  of  Frederick  W.  Gookin. 


Second  Evening 


82 


341  Takamiya.  View  of  the  station  on  the  further  side  of  the  nearly  dry 
bed  of  the  Echi  river,  where  the  trestles  alone  remain  of  a  bridge 
that  has  been  swept  away.  Signed,  Hiroshige.  No.  65. 

Fine  impression,  in  fine  condition. 


KEISAI  EISEN 

Pupil  of  Kano  Haku-keisai  and  of  an  obscure  artist  named  Kinji  Shindd. 
Follower  of  Eizan  and  also  of  Hiroshige.  Born  about  1792;  died  184-8. 

342  Shadows  on  the  Shoji.  The  oiran  Hanamurasaki  standing  in  the 

garden  of  Tama-ya.  Back  of  her  the  figures  of  people  within  the 
house  are  projected  in  silhouette  on  the  paper  panes  of  the  shoji. 
Series:  Tosei  Kuruwa  Fuzoku,  i.e.,  “Popularized  Scenes  in  the 
Modern  Courtesan  Quarter.”  Signed,  Eisen. 

Size,  14/4  x  9%  inches.  Fine  impression,  in  fair  condition. 

343  Masanagi  of  Tama-ya.  An  oiran  seated  in  a  barred  window.  Series: 

Kuniwa  Hakkei.  Signed,  Iveisai  Eisen. 

Size,  14/4  x  9%  inches.  Good  impression,  in  good  condition. 

344  Playing  Kitsune  Ken.  An  oiran  seated  in  a  room  in  a  tea-house 

looking  at  her  kamuro  who  is  playing  the  game  of  kitsune  (fox) 
ken,  one  of  the  many  varieties  of  the  finger  game  called  ken.  The 
other  player  is  not  shown  on  this  sheet  which  is  the  left-hand  sheet 
of  a  triptych.  Signed,  Iveisai. 

Size,  14J4  x  10  inches.  Good  impression,  in  good  condition. 

From  the  collection  of  Ernest.  F.  Fenollosa. 

345  A  Carp  Swimming  among  Water  Weeds.  This  print  was  designed 

about  1842  in  emulation  of  one  of  Hiroshige’s  prints  of  fishes. 
Signed,  Iveisai.  Two  seals. 

Size,  10x14 Vs  inches.  Ordinary  impression.  Not  in  very  good 
condition. 

346  View  of  Shinobazu  Pond.  The  Benten  shrine  on  an  island  in  the 

pond,  and  the  roofs  of  the  buildings  of  Toeizan  temple  showing- 
above  the  trees  on  a  hill  at  the  right.  The  print  is  notable 
for  the  border  of  Roman  letters  in  white  on  a  black  ground. 
The  letters  are  not  arranged  in  words,  nor  are  all  of  them  cor- 


83 


Second  Evening 


rectly  formed,  and  some  other  shapes,  including  the  mark  of  the 
publisher  Ezaki-ya  Tatsuzo,  are  mingled  with  them.  Signed,  Eisen. 

Size,  9%  x  14%  inches.  Ordinary  impression,  in  good  condition, 
save  for  a  few  moth  holes. 

347  A  Yoshiwara  Beauty.  Tall  figure  of  an  oiran  walking  toward  the  left 

with  her  back  turned  to  the  spectator,  affording  a  view  of  the 
striking  pattern  on  her  uchikake  (overdress)  of  white  bamboo 
canes  on  a  deep  blue  ground.  Signed,  Keisai  Eisen. 

Kakemono-e.  Size,  26%  x  8%  inches.  Fine  impression,  in  good  con¬ 
dition  except  trimmed  a  little  at  the  head. 

348  Protecting  her  Coiffure.  Standing  figure  of  an  elaborately  dressed 

geisha,  who  is  pinning  a  folded  paper  about  her  coiffure  to  protect 
it  while  out  of  doors.  Signed,  Keisai  Eisen. 

Kakemono-e.  Size,  28%  x  9%  inches.  Good  impression,  in  good 
condition. 

KATSUSHIKA  HOKUSAI 

Pupil  of  Katsukawa  Shunsho  and  other  masters.  First  studio  name  Kat- 
sukawa  Shunro.  Later  changed  to  Hishikawa  Sori,  Kako,  Hokusai,  Shinsai, 
Taito,  I-itsu,  Manji,  and  other  names.  Born  1760;  died  1849. 

349  Jo  and  Uba.  The  old  man  and  woman,  the  spirits  of  the  pine  trees  of 

Sumiyoshi  and  Takasago,  drinking  sake  together  under  the  pine 
trees  at  sunrise  on  New  Year’s  morning.  Not  signed. 

Size,  9%  x  15%  inches.  Ordinary  impression,  not  in  very  good 
condition. 

350  On  the  Shore  of  Shinobazu  Pond.  View  of  the  pond  and  the  Benten 

shrine.  On  the  shore  in  the  foreground  a  fan-mount  peddler 
walks  toward  the  left  and  two  women  and  a  boy  hurry  in  the 
opposite  direction.  Not  signed. 

Size,  10  x  141-2  inches.  Ordinary  impression,  fair  condition. 

351  Roses  and  Canary.  Signed  I-itsu,  formerly  Hokusai. 

Size,  10%  %  7%  inches.  Good  impression,  fair  condition. 

352  Thistles  and  Crossbill.  Signed,  I-itsu,  formerly  Hokusai. 

Same  series  as  the  preceding  lot.  Fine  impression,  good  condition. 

353  Fujieda  Station.  Women  seated  in  a  refreshment  booth,  waiting  for 

customers.  Series,  Tokaido.  Signed,  Gwa-kyo-jin  (Painting-mad 
man)  Hokusai. 

Size,  4%  x  13%  inches.  Good  impression,  good  condition. 


Second  Evening 


84 


FUGAKU  SAN -JU-ROK-KEI 

11  Thirty-six  views  of  Fuji.”  Seventeen  of  the  forty-six  prints  of  this  series, 
and  seven  duplicates.  Each  signed,  I-itsu  formerly  Hokusai.  Size,  about 
10  x  15  inches. 

354  Edo  Nihon  Bashi.  View  of  Fuji  from  Nippon  bridge,  Edo. 

Ordinary  impression,  fair  condition. 

355  Onmayagashi  Yori  Ryogoku  bashi.  View  of  Fuji  and  Ryogoku  bridge 

from  Onmayagashi,  Edo. 

Ordinary  impression,  fair  condition. 

356  Toto  Asakusa  Honguwanji.  Fuji  seen  from  Honguwanji  temple 

Asakusa  district,  Edo. 

First  edition.  Fine  impression.  Has  a  vertical  crease;  otherwise  in  fine 
condition. 

From  the  collection  of  Frederick  W.  Gookin. 

357  Toto  Asakusa  Honguwanji. 

Later  impression.  Slightly  trimmed  and  has  a  vertical  crease.  In  good 
condition  otherwise. 

358  Edo  Suruga-Cho  Mitsui.  Fuji  seen  from  the  Mitsui  dry-goods  shops 

in  Suruga  street,  Edo. 

Fine  impression,  unusual  coloring.  In  good  condition  save  for  a  vertical 
crease. 

From  the  collection  of  Frederick  W.  Gookin. 

359  Koishikawa  Setsu  no  Asa.  View  of  Fuji  from  Koishikawa  on  a  snowy 

morning. 

Ordinary  impression,  good  condition. 

360  Shimo  Meguro.  View  of  Fuji  from  Shimo  Meguro,  a  suburb  of  Edo. 

Good  impression,  in  good  condition. 

361  Shimo  Meguro. 

Another  good  impression,  fair  condition. 

362  Honjo  Tatsukawa.  View  of  Fuji  from  a  lumber  yard  on  the  Tatsu 

river  in  the  Honjo  district.  This  is  one  of  the  most  difficult  prints 
of  the  series  to  get  in  a  really  fine  impression  in  perfect  condition. 
First  edition.  Fine  impression,  in  fine  condition .  See  illustration. 

363  Honjo  Tatsukawa. 

Another  good  impression,  later  printing.  Fair  condition. 


85 


Second  Evening 


364  Toto  Suruga  Dai.  Fuji  seen  from  Suruga  Dai,  Edo. 

First  edition.  Fine  impression ,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

365  Fukagawa  Mannen  Bashi  Shita.  Fuji  seen  beneath  Mannen  bridge, 

Fukagawa  district,  Edo. 

First  edition.  Fine  impression,  fair  condition. 

From  the  collection  of  Frederick  W.  Gookin. 


No.  362 

366  Hanamachi  Senju.  View  of  Fuji  from  Senju,  looking  across  the 

Yoshiwara  of  Edo. 

First  edition.  Fine  impression,  in  good  condition. 

367  Hanamachi  Senju. 

Another  impression  of  the  first  edition.  Good  condition  save  trimmed 
a  little  at  the  right. 

368  Tokaido  Shinagawa  Gotenyama.  Fuji  seen  from  Goten  hill  at  Shina- 

gawa  on  the  Tokaido,  in  the  time  of  the  cherry  blossoming. 

First  edition.  Fine  impression,  in  fine  condition. 

369  Tokaido  Yoshida.  Fuji  seen  from  the  Fuji-view  tea-house  at  Yoshida 

on  the  Tokaido. 

Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 


Second  Evening 


86 


370  Tokaido  Yoshida. 

Another  impression.  Later  printing.  Trimmed  at  the  right. 

371  Tokaido  Yoshida. 

A  third  impression.  Much  later.  Trimmed  a  half-inch  in  length  and 
somewhat  soiled. 

372  Tokaido  Ejiri  Tago-no-ura.  View  of  Fuji  from  the  sea  at  Tago-no-ura 

in  Ejiri. 

First  edition.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

373  Koshu  Mishima  Toge.  View  of  Fuji  from  the  Mishima  Pass  province 

in  Koshu. 

Ordinary  impression,  in  fair  condition.  Slightly  stained  by  mildew. 

374  Totomi  Sanchu.  Fuji  seen  from  the  mountains  in  Totomi  where 

sawyers  are  making  planks  from  a  great  squared  log. 

First  edition.  Fine  impression. 

From  the  collection  of  Frederick  W.  Gookin. 

375  Musashi  Tamagawa.  View  of  Fuji  from  the  Tama  river  in  the  province 

of  Musashi. 

First  edition.  Fine  impression,  fair  condition. 

376  Tokaido  Kanaya.  View  of  Fuji  from  the  ford  of  the  Oi  river  at  Kanaya 

on  the  Tokaido. 

First  edition.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

377  Tokaido  Kanaya. 

Another  impression,  same  edition  and  condition. 


378  Picnic  Party  at  Gotenyama.  A  merry  group  under  the  cherry  trees. 

At  the  left  a  view  over  the  sands  exposed  at  low  tide  and  people 
gathering  marine  creatures.  Long  surimono.  Signed,  Katsushika 
Hokusai. 

Size,  7l/2x20%  inches.  Ordinary  impression,  fair  condition. 

379  Picnic  Party  at  Gotenyama. 

Later  impression,  colors  faded. 

380  An  Outing  at  the  Sea  Shore.  Women  and  children  and  a  peddler  of 

straw  hats  and  other  articles  on  the  beach  of  the  mainland  opposite 


87 


Second  Evening 


Enoshima;  Mt.  Fuji  in  the  distance.  Long  surimono.  Signed, 
Gwakyo-jin  Hokusai. 

Size,  6]/s  x  19%  inches.  Late  impression,  not  in  very  good  condition. 


No.  381 


UTAGAWA  HIROSHIGE 

1797-1858 


Kwacho. 

Jude. 


11  Flower  and  bird  pictures.”  Ten  subjects,  each  signed,  Hiroshige 
All  from  the  collection  of  Frederick  W.  Gookin. 


381  Warabi  ni  Kiji.  “Brakes  and  pheasant.” 

Size,  14%  x  5  inches.  Fine  inipression,  in  fine  condition.  See  illus¬ 
tration. 


382  Shobu  ni  Kawasemi.  Siberian  iris  and  kingfisher. 

Size,  14%  x  4/4  inches.  Good  impression,  in  fair  condition. 


Second  Evening 


88 


383  Keshi  ni  Suzume.  “  Red  poppies  and  sparrows.” 

Size,  13}4:  x  4Vs  inches.  Fine  impression.  Has  several  moth  holes 
that  have  been  patched. 

384  Momiji  ni  Kujaku.  “Maple  tree  and  peacock.’' 

Size,  14%  x  5  inches.  Fine  impression,  fine  condition. 

385  Yellow  Hibiscus  and  Bluebird. 

Size,  14 %  x  5  inches.  Fine  impression,  not  in  very  good  condition. 


No.  390 

386  Budo-zuru  ni  Omu.  “Grapevine  and  parrot.”  This  print  was  issued 

in  several  different  colorings.  This  is  the  earliest  and  best. 

Size,  14%  x  5  inches.  Ordinary  impression,  fair  condition. 

387  A  Cock  on  a  Hillside  in  Falling  Snow.  One  of  Hiroshige’s  most 

distinguished  kwacho  designs. 

Size,  14 Vs,  x  41/ 8  inches.  Fine  impression,  fair  condition. 

388  Ajisai  ni  Suzume.  Hydrangea  and  sparrows. 

Size,  141/2x4%  inches.  Good  impression,  good  condition. 


89 


Second  Evening 


389  Tsubaki  ni  Buncho.  Camellia  and  bird. 

Size,  14%  x  4Vs  inches.  Fine  impression ,  not  in  good  condition. 

390  Mangetsu  ni  Gan.  Wild  geese  flying  down  against  the  full  moon. 

Besides  the  artist’s  signature  this  print  has  his  famous  seal,  a  horse 
(ba)  and  a  deer  (ka),  together  “Baka”  which  means  a  fool. 

Size,  HA  x  47/s  inches.  Good  impression ,  fair  condition.  See  illus¬ 
tration. 


No.  391 

SUZUKI  HARUNOBU 

c.  1730-1770 

391  Komurasaki.  She  carries  the  basket  hat,  kesa,  and  flageolet  of  a 
lcomuso  and  is  advancing  along  the  bank  of  a  small  stream  to  meet 
her  lover  Gompachi  who  is  not  shown  on  this  sheet  which  is  part 
of  a  diptych.  Flowers  are  blooming  on  a  hillock  across  the  stream. 
Signed,  Harunobu. 

Size,  13 %  x  9}/2  inches.  Fine  impression.  Somewhat  toned,  hut 
otherwise  in  fine  condition.  See  illustration. 


Second  Evening 


90 


392  Kannazuki,  the  Tenth  Moon.  A  young  woman  peering  from  behind 

a  sliding  partition  watches  a  youth,  who  is  seated  by  a  small  hibachi 
and  a  black  lacquer  box,  read  a  love  letter  that  she  has  written  him. 
The  room  is  open  at  the  left  showing  falling  rain  and  a  maple 
branch  with  autumnal  foliage  in  a  lacquer  flower  bucket  standing 
upon  the  veranda.  An  ode  on  a  conventional  cloud  above  signifies : 
“The  world  does  not  lie;  by  the  shower  coming  we  know  it  is  the 
tenth  month.”  One  of  the  series,  Fuzoku  Shiki  Kasen,  i.e.,  “Pop¬ 
ularized  Customs  of  the  Four  Seasons.”  This  series  consisted  of 
thirteen  prints,  one  for  each  of  the  thirteen  lunar  months  of  the 
year  1770.  Signed,  Harunobu. 

Size,  1 1 XA  x  8l/i  inches.  Ordinary  impression,  register  not  perfect 
throughout.  Somewhat  soiled. 

393  Three  Oiran.  Three  figures  of  young  women  from  the  book  entitled 

“Seiro  Bijin  Awase,”  i.e.,  “Collection  of  Beauties  of  the  Green 
Houses,”  mounted  so  as  to  form  a  triptych.  Not  signed. 

Each  sheet  8l/2  x  5%  inches.  Somewhat  faded,  but  otherwise  in  average 
good  condition. 

394  An  Oiran  Seated  beside  a  Tobako-bon.  Another  page  illustration 

from  the  same  book  as  the  preceding  lot.  Signed,  Harunobu. 

Size,  8%  x  5%  inches.  In  good  condition. 

395  The  Moon  Gazer.  A  young  woman  standing  in  a  parlor,  looking  out 

to  the  right  through  the  open  side  of  the  room  at  the  full  moon 
that  shines  through  a  rift  in  a  cloud  that  spans  the  sky.  Behind 
her  is  a  tsuitate  (a  kind  of  screen)  bearing  a  painting  of  a  Chinese 
landscape  and  the  signature  of  the  artist,  Suzuki  Harunobu. 

Size,  llfi  x  8fi  inches.  Very  fine  and  brilliant  impression,  in  perfect 
condition.  See  illustration. 

Formerly  in  the  collection  of  Baron  Sumitomo. 

ISODA  KORYUSAI 

Worked  1768-1786 

396  Oiran  and  Kamuro.  They  are  richly  attired  and  are  walking  toward 

the  right.  Signed,  Koryu. 

Hashira-e.  Size,  26%  x  4%  inches.  Late  impression,  somewhat 
browned. 


91 


Second  Evening 


397  Under  Observation.  A  youth  embracing  a  young  woman  who  stands 
beside  him  on  the  engawa  of  a  dwelling,  while  the  girl’s  mother 
looks  at  them  through  a  hole  she  has  made  in  the  shoji.  Signed, 
Koryusai. 

Hashira-e.  Size,  28  }f  x  4Yh  inches.  Ordinary  impression,  in  fair 
condition. 


) 


No.  395 


398  A  Breezy  Day.  Two  young  women  with  wind-blown  garments  under 

a  willow  tree.  Illustration  of  an  ode  by  Bunya  no  Yasuhide. 
Series:  Rok-kasen,  i.e.,  “The  Six  Famous  Poets.”  Signed, 
Koryusai. 

Hashira-e.  Size,  28  x  5  inches.  Good  impression,  fairly  good  con¬ 
dition.  See  illustration . 

399  Yatsushi  Kokei  San  Sho.  An  Ukiyoe  analogue  of  the  three  laughers 

of  Chinese  legend.  Instead  of  the  Chinese  sages  three  young 
women  are  shown  standing  upon  a  bridge.  Signed,  Koryu. 
Hashira-e.  Size  27  x  4%  inches.  Good  impression,  fair  condition. 


Second  Evening 


400  Shinjiku  no  Yau.  Night  rain  at  Shinjiku.  An  oiran  standing  and  a 

man  seated  at  her  feet  and  grasping  her  wrist  as  he  turns  to  look 
at  a  book  lying  open  upon  the  floor.  Series:  Shinagawa  Hakkei. 
Signed,  Koryusai. 

Hashira-e.  Size,  27l/i  %  4%  inches.  Good,  impression,  faded  and 
browned. 

TORII  KIYONAGA 

1752-1813 

401  Two  Geisha.  They  are  in  summer  attire,  one  in  black  and  the  other 

in  russet-orange,  and  are  walking  side  by  side.  Series:  Fuzoku 
Ju-ni  Tsui,  i.  e.,  “Popularized  Twelve  Pairs.  ”  Signed,  Kiyonaga. 

Hashira-e.  Size,  26%  x  4%  inches.  Fine  impression,  good  condition. 
See  illustration. 

From  the  collection  of  Frank  Lloyd  Wright. 

402  Educating  her  Kamuro.  A  tall  oiran  looking  down  at  her  kamuro, 

who  is  seated  at  her  feet  engaged  in  love-letter  writing  practice. 
Signed,  Kiyonaga. 

Hashira-e.  Size,  26%x  4Y2  inches.  Ordinary  impression,  faded. 

403  In  Night  Attire.  Standing  figure  of  an  oiran  dressed  in  her  night 

clothes.  Signed,  Kiyonaga. 

Hashira-e.  Size.  27x4 %  inches.  Good  impression,  somewhat 
browned. 

404  Onna  San  Gu.  “Three  women.”  Two  of  them  are  upon  the  floor 

of  a  parlor  playing  with  a  white  kitten;  the  third  stands  looking 
down  at  them.  Series:  Bijin  Ryaku  Shu,  i.  e., “Simple  Assemblage 
of  Beauties.”  Signed,  Kiyonaga. 

Size,  1 0  x  7%  inches.  Good  impression,  fair  condition. 

405  Looking  at  Picture  Books.  Three  young  women  in  a  room  that  is 

open  toward  the  garden.  Two  of  them  are  looking  at  picture  books 
lying  open  upon  the  floor,  while  the  other  woman  unrolls  a  curtain 
of  bamboo  slats  suspended  from  the  roof  of  the  veranda.  Comic 
ode  above.  Signed,  Kiyonaga. 

Size,  91/ &  x  7%  inches.  Fine  impression  in  fair  condition. 

406  Illustration  of  a  Poem  by  Narihira.  An  oiran  seated  by  a  hibachi  turns 

to  look  out  of  a  window  behind  her,  while  her  kamuro  stands  holding 


Second  Evening 


94 


abook.  Series:  Rok-ka-sen,  i.e.,“  The  Six  Famous  Poets.”  Signed, 
Kiyonaga. 

Size,  8Yi  x  6  inches.  Ordinary  impression,  in  good,  condition. 

407  Nurioke  Bosetsu.  “The  evening  snow  on  the  nurioke.”  A  wakashu 

(comely  youth)  standing  behind  a  young  woman  who  is  reading  a 
love  letter  from  him  while  seated  beside  a  nurioke,  or  dome-shaped 
lacquered  furnace  used  for  drying  mawata  (floss,  or  waste  silk)  and 
making  it  into  wadding.  Series :  Zashiki  Hakkei,  i.e., “Eight  Parlor 
Views.”  Signed,  Kiyonaga. 

Size,  10l/2X?'l/2  inches.  Fine  impression,  and,  except  for  slight  stain 
upon  the  mawata,  in  fine  condition. 

408  Kintaro  Playing  Fukubiki  with  Four  Oni.  The  youthful  Sakata  Ivintoki 

playing  the  game  of  “Fortune  Drawing”  with  four  small  demons 
who  pull  at  the  strings  he  holds  in  his  hands  to  see  which  one  of 
,  them  will  get  as  a  prize  the  takaramono  that  are  spread  upon  the 
ground.  One  of  an  unnamed  series  of  ten  or  more  prints,  depicting 
incidents  in  the  life  of  Kintaro.  Signed,  Kiyonaga. 

Size,  1 4 ')  8  x  9fi  inches.  Fine  impression,  in  fine  condition. 

409  Kintaro  Mane  Maki.  Performing  the  Toshi  Koshi  ceremony  of  scatter¬ 

ing  beans  to  drive  away  the  oni,  and  the  oni  scrambling  for  them 
and  eating  them,  as  the  children  in  Japanese  houses  scramble  for 
and  eat  the  sugared  beans  with  which  the  ceremony  is  usually 
performed.  Same  series  as  the  preceding  lot.  Signed,  Kiyonaga. 
Size,  lff$x9J/ g  inches.  Good  impression  in  good  condition. 

410  An  Oni  Procession.  Kintaro  seated  playing  a  drum  while  four  oni 

march  along  carrying  figures  of  a  dragon,  a  tiger,  a  hairy-tailed 
tortoise,  and  a  cock,  mounted  upon  standards  to  which  banners  are 
attached.  Same  series  as  the  two  preceding  lots.  Signed,  Kiyonaga. 
Size,  14%  x  9fi$  inches.  Fine  impression,  in  fine  condition. 

EIRI 

Presumably  a  pupil  of  Eishi,  and  7iot,  it  is  said,  identical  with  Rekisentei 
Eiri  who  used  different  characters  in  writing  his  studio  name.  Worked  about 
1794-1798. 


95 


Second  Evening 


411  Hitamoto  of  Daimonji-ya.  Large  head  and  bust  portrait  of  the  oiran 
who  is  shown  looking  at  a  doll  representing  the  Emperor  in  his 
robes  of  state.  Not  signed. 

Size,  lO/S  %  10 Vs  inches.  Ordinary  impression,  in  good  condition. 
See  illustration. 

From  the  collection  of  Frank  Lloyd  Wright. 


No.  411 

CHOKOSAI  EISHO 

Pupil  of  Eishi.  Nothing  is  known  about  his  life.  Worked  in  the  Kwansei 
period  ( 1789-1801 ). 

412  The  Gembuku  of  a  Young  Noble.  The  gembuku  is  the  coming-of-age 
ceremony.  In  this,  which  is  the  left-hand  sheet  of  a  triptych,  two 
lady  attendants  are  shown  bearing  the  young  man’s  coat  and  a 
kanmuri,  i.  e.,  cap  that  denotes  his  high  rank.  Signed,  Oju  (by 
request)  Eisho. 

Size,  1  %  x  9  inches.  Fine  impression,  in  good  condition  except 
slightly  trimmed. 


Second  Evening 


96 


413  The  Gembuku  of  a  Young  Noble.  Another  impression  of  the  same 

sheet  as  the  preceding  lot. 

Size,  14%  x  9%  inches.  Somewhat  faded  and  soiled. 

414  The  Eleventh  Month.  A  woman  seated  with  a  tray  containing  a  bowl 

and  a  bunch  of  bamboo  leaves  on  the  floor  by  her  side.  She  holds 
in  her  left  hand  a  little  mask  of  Otafuku  fastened  to  a  small  bamboo 
rake  bought  at  one  of  the  0  Tori  Jinja  Shinto  shrines  at  the  Tori 
no  Machi  festival  held  during  the  eleventh  month  of  the  year. 
Series:  Fiizoku  Ju-ni  Gatsu,  i.e.,  “Customs  of  theTwelve  Months.” 
Signed,  Eisho. 

Size,  9%  x  7  inches.  Ordinary  impression,  good  condition. 

415  Shiratsuyu  of  Wakana-ya.  Large  head  and  bust  portrait.  Signed, 

Shoeido  Eisho. 

Size,  15%  x  10  inches.  Fine  impression  in  good  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

416  Boating  Parties  on  Edo  Bay.  Two  heavy  barges  drawn  up  alongside, 

a  woman  standing  in  the  near  one,  and  two  women  in  the  other, 
one  reclining  and  leaning  over  the  rail  while  her  companion,  who 
is  fishing  with  rod  and  line,  lands  a  small  fish.  Middle  sheet  of  a 
triptych.  Signed,  Eisho. 

Size,  14Y2x  10%  inches.  Fine  impression,  in  good  condition  save 
that  it  is  trimmed  a  little  at  the  head  and  foot. 

417  Oiran  and  Kamuro.  An  oiran  who  wears  an  extravagantly  large  obi, 

stands  under  a  blossoming  cherry  tree  talking  to  her  kamuro. 
Signed,  Eisho. 

Hashira-e.  Size,  24%  %  4%  inches.  Fine  impression,  in  fine  con¬ 
dition.  See  illustration,  p.  92. 

418  Ogi-ya  Hanaogi  Ta-sho-yuki.  Hanaogi  of  Ogi-ya  and  a  bevy  of  gayly 

dressed  women  strolling  under  blossoming  cherry  trees  and  admiring 
the  pink  flowers.  The  phrase  “ta-sho-yuki”  means  an  outing  by 
special  permission.  Signed,  Eisho. 

Triptych.  Size,  14%  x  28%  inches.  Good  impression,  in  good  con¬ 
dition,  the  colors  as  bright  as  when  first  printed. 

419  Ogi-ya  Hanaogi  Ta-sho-yuki.  An  earlier  impression  of  the  first  and 

second  sheets  only,  mounted  as  a  diptych.  In  very  fine  condition, 
colors  softly  faded. 


97 


Second  Evening 


419a  Ogi-ya  Hanaogi  Ta-sho-yuki.  A  finer  impression  of  the  middle  sheet 
only. 

Full  size.  Colors  almost  as  when  first  printed .  Has  several  large  moth 
holes. 


No.  420 

UTAGAWA  TOYOKUNI  I 

1769-1825 

420  The  Third  Ichikawa  Yaozo  in  the  role  of  Fuwa  Banzaemon  in  “Keisei 

Sanbon-karakasa”  at  the  Miyako  theatre,  August  1794.  Large 
head  and  bust  portrait.  Signed,  Toyokuni. 

Size,  15}4  x  10  inches.  Fine  impression,  in  good  hut  not  perfect 
condition.  See  illustration. 

421  The  Fourth  Iwai  Hanshiro.  Large  head  and  bust  portrait  of  this 

famous  actor  of  women's  roles.  Signed,  Toyokuni. 

Size,  14%  x  9%  inches.  Fine  impression.  In  good  condition  though 
trimmed  a  little  and  the  colors  faded. 


Second  Evening 


98 


422  The  Actor  Arashi  Sanpachi  as  a  samurai  standing  with  drawn  sword 

before  a  barred  enclosure  at  right.  Signed,  Toyokuni. 

Size,  12  x  oY%  inches.  Good  impression,  in  fair  condition. 

423  An  Actor  as  a  Ronin.  The  actor  may  be  identified  tentatively  as 

Ichikawa  Tomozo.  He  is  dressed  in  black,  stands  at  right  near  a 
clump  of  bushes  and  holds  a  gun  behind  him  as  he  is  halted  by 
some  person  not  shown  in  this  sheet  who  spreads  an  umbrella 
before  him.  Signed  Toyokuni. 

Size,  12  Y  x  5 %  inches.  Fine  impression,  in  good  condition. 

424  Two  Actors.  Nakayama  Tomisaburo  as  a  woman  standing,  and  Onoe 

Eizaburo  as  a  man  kneeling  on  one  knee,  with  his  back  to  her. 
Both  hold  similar  pieces  of  cloth  bearing  inscriptions.  Signed, 
Toyokuni. 

Size,  1 2 Yi  x  5%  inches.  Good  impression,  in  good  condition. 

425  Two  Popular  Actors.  The  first  Ichikawa  Omezo  as  the  Sekitori 

(wrestler)  Yuwagawa  Jirokichi;  and  standing  behind  him  Arashi 
Sanpachi  as  the  wrestler  Tetsugadake  Kizuemon.  Signed, Toyokuni. 
Size,  1  4  /s  x  2  inches.  Fine  impression,  in  fine  condition. 

42G  Hamamura-ya  Roko.  These  are  the  house  and  literary  names  of  the 
third  Segawa  Kikunojo  who  is  depicted  as  a  geisha  on  the  stage 
of  a  theatre  in  a  night  scene  with  a  nakai  (assistant)  seated  at  her 
feet  playing  a  samisen.  Series:  .  Furyu  Geisha  Mi-buri  Sugata-e, 
i.  e.,  “Fanciful  shapes  of  Geisha  in  Mi-buri”  (a  style  of  dance). 
Signed,  Toyokuni. 

Size,  14/4x9%  inches.  Fine  impression.  Trimmed  at  the  head. 
In  good  condition  otherwise. 

427  Tachibana-ya  Chusha.  These  are  the  house  and  literary  names  of  the 
third  Ichikawa  Yaozo  who  is  also  depicted  as  a  geisha  in  a  night 
scene  with  a  nakai  seated  and  playing  a  samisen.  Same  series  as 
the  preceding  lot  and  similarly  signed. 

Size,  14/4x9 %  inches.  Fine  impression,  in  good  condition,  except 
trimmed  at  the  head. 

UTAGAWA  KUNIMITSU  AND  UTAGAWA  TOYOKUNI 

Kunimitsu  was  a  pupil  of  Toyokuni  who  devoted  himself  chiefly  to  hook 
illustration.  The  dates  of  his  birth  and  death  are  not  known.  Worked  in  the 
Kyowa  and  Bunkwa  periods. 


99 


Second  Evening 


428  Ushiwaka  at  Fencing  Practice  with  Women.  Yoshitsune,  whose  early 

name  before  he  came  of  age  was  Ushiwaka,  i.e.,  “Young  Ox,”  is 
reputed  to  have  acquired  his  marvelous  skill  in  fencing  under  the 
tutelage  of  Sojobo,  the  king  of  the  tengu  (bird-men)  living  on  Mt. 
Kurama.  He  is  often  pictured  at  fencing  practice  with  a  group 
of  tengu.  This  print  is  a  mitate-e  or  transformed  version,  women 
being  depicted  instead  of  the  tengu;  and  all,  including  Ushiwaka 
are  armed  with  plum  branches  instead  of  swords.  In  the  centre 
the  youthful  hero  is  shown  leaping  high  over  the  heads  of  two  of 
the  women.  At  the  right,  a  woman  who  takes  the  place  of  Sojobo 
is  seated,  surrounded  by  women  attendants,  viewing  the  contest. 
The  right-hand  and  middle  sheets  signed.  Kunimitsu;  the  third 
sheet  signed,  Toyokuni.  About  1802. 

Triptych,  size,  14%  x  29%  inches.  Good  impression.  Slightly 
trimmed  and  faded. 

From  the  collection  of  J.  Clarence  Webster. 

UTAGAWA  TOYOKUNI 

429  Women  Waving  Plum  Branches.  Left-hand  sheet  of  the  same 

triptych  as  the  preceding  lot.  Signed,  Toyokuni. 

Size,  15}  $  x  10%  inches.  Fine  impression,  in  fine  condition. 

KATSUKAWA  SHUNZAN 

Pupil  of  Shunsho  and  of  Shunyei.  Nothing  is  known  about  his  life. 
Worked  in  the  Kwansei  period  ( 1789-1 SOI ). 

430  Teppo  no  Dan.  “The  gun-shooting  act.”  A  woman  robbing  another 

woman  of  her  mamori-bukuro  (talisman) ;  a  parody  on  the  incident 
from  Chushingura,  where  Sadakuro  murders  and  robs  Yoishibei. 
Series:  Onna  Chushingura.  Signed,  Shunzan. 

Size,  9  x  6%  inches.  Fine  impression,  good  condition,  though  some¬ 
what  faded. 

From  the  collection  of  Frank  Lloyd  Wright. 

431  The  Second  Nakamura  Noshio  as  a  woman  standing  just  within 

the  gate  to  a  fenced  enclosure,  holding  a  basket  piled  with  large 
green  leaves.  Signed,  Shunzan. 

Size,  1 1%  x  5%  inches.  Impression  on  thin  paper.  Good  condition. 


Second  Evening 


100 


432  The  Second  Nakamura  Noshio  in  the  role  of  an  oiran  who  stands  in  a 

parlor  and  is  dressed  in  a  blue  kimono  and  a  pink  obi.  Not  signed. 
The  attribution  to  Shunzan  is  tentative. 

Size,  12  x  5f$  inches.  Ordinary  impression  and  in  good  condition, 
but  the  print  is  poorly  engraved  and  cheaply  printed. 

433  Fair  Visitors  to  the  Shrines  at  Ise.  Middle  sheet  of  the  triptych  which 

is,  perhaps,  Shunzan’s  most  important  print.  A  woman  is  shown 
riding  on  a  white  horse,  with  two  children,  one  on  either  side  of 
her,  seated  in  open  railed  boxes,  attached  to  the  saddle.  In  the 
foreground  another  woman  bends  down  to  tie  her  sandal.  Signed, 
Shunzan. 

Size,  15 %  x  9h/s  inches.  Fine  impression;  the  colors  softly  faded, 
otherwise  in  perfect  condition. 

KATSUKAWA  SHUNTEI 

Pupil  of  Shunko.  Born  1770;  died  1820.  Chiefly  a  book  illustrator,  but 
designed  prints  of  actors  in  the  style  of  Toyokuni,  and  a  few  of  battle  scenes  and 
other  subjects. 

434  The  Eel  Restaurant.  Left  hand  sheet  of  a  triptych  showing  the 

interior  of  a  large  eating-house.  A  woman  is  broiling  slices  of  eel 
fixed  upon  bamboo  skewers  and  is  fanning  the  charcoal  fire  in  a 
long  brazier  used  for  cooking  them.  A  maid  is  carrying  a  plate 
of  the  broiled  slices  to  serve  the  guests,  two  of  whom  are  seen  at 
the  further  side  of  the  room.  At  the  left  a  woman  cashier  is  making 
out  the  accounts.  (Note:  The  right-hand  sheet  of  this  triptych 
shows  a  man  dressing  and  slicing  eels  upon  a  table.)  Signed, 
Shuntei.  Dated  Hare  year,  1807. 

Size,  lj5/s,  x  10ys  inches.  Fine  impression,  good  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

KATSUKAWA  SHUNSEN 

Pupil  of  Tsutsumi  Torin,  then  of  Shunyei.  A  prolific  designer  of  book 
illustrations  during  the  Bunkwa  period.  By  these,  which  were  very  popular, 
he  is  best  known.  About  1820  changed  his  name  and  became  the  second  Shunko. 
Later  he  devoted  himself  to  the  decoration  of  pottery.  Dates  of  birth  and  death 
unknown. 


10] 


Second  Evening 


435  Preparing  Nori.  A  group  of  women  on  the  shore  of  Eclo  bay  gathering 

edible  sea-weed  and  making  it  into  nori  by  spreading  it  upon 
bamboo  racks  to  form  thin  sheets  when  dried  in  the  sun.  Signed, 
Shunsen. 

Size,  14%  x  9%  inches.  Fine  impression,  not  in  very  good  condition. 
From  the  collection  of  Ernest  F.  Fenollosa. 

436  The  Fifth  Iwai  Hanshiro  in  the  role  of  Kuyuki,  a  woman  standing  at 

the  end  of  a  bridge  under  a  weeping  willow  tree.  Signed,  Katsu- 
kawa  Shunsen. 

Size,  14%  x  10  inches.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

437  A  Geisha  in  a  Snow  Storm.  She  is  walking  toward  the  left  and  protects 

her  head  from  the  storm  with  a  partly  opened  umbrella.  Signed, 
Katstikawa  Shunsen. 

Kakemono-e.  Size,  26]/ 2  x  8%  inches.  Ordinary  impression,  good 
condition. 

UTAGAWA  SADAHIDE 

Pupil  of  Kunisada  and  imitator  of  Hiroshige.  Dates  of  birth  and  death  not 
known.  Worked  about  1830-1857 . 

438  Kome  no  Hana  ni  Suzume.  “Rice  flowers  and  sparrows.”  The  rice 

is  growing  in  a  flooded  field  and  the  bird  is  clinging  to  a  stalk  that 
is  bent  over  by  its  weight.  Uchiwa  mount.  Signed,  Gountei 
Sadahide. 

Size,  9x/f  x  Ilfs  inches.  Fine  impression,  perfect  condition.  An  un¬ 
usually  fine  example  of  Sadahide’ s  work. 

GOFUTEI  SADAFUSA 

Pupil  of  Kunisada.  Dates  of  birth  and  death  unknown.  Worked  about 
1830-1840. 

439  An  Autumn  Fantasy.  A  woman  seated  on  a  bench  near  a  winding 

stream  in  a  field  where  “the  seven  flowers  of  autumn”  are  in  bloom, 
hands  a  cup  of  sake  to  some  one  not  shown  upon  this  sheet,  using 
her  uchiwa  in  lieu  of  a  tray.  Right-hand  sheet  of  a  triptych. 
Signed,  Gofutei  Sadafusa. 

Size,  14 /4  x  10  inches.  Fine  impression,  perfect  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 


Second  Evening 


102 


440  A  Geisha  Walking  on  the  Sumida  River  Embankment.  In  the  back¬ 

ground  a  thatch-roofed  dwelling  and  a  low  green  hill  beyond  it. 
In  a  circular  cartouche  above  is  a  poem  about  miyakodori  (oyster 
catchers,  a  species  of  tern).  Signed,  Gofiitei  Sadafusa. 

Size,  inches.  Fine  impression,  in  fine  condition  except  at 

the  left  edge  where  it  has  been  folded  and  the  surface  abraded. 

From  the  collection  of  Ernest  F.  Fenollosa. 

UTAGAWA  KUNINAO 

Pupil  of  Toyokum  I .  Dates  of  birth  and  death  not  known.  Popular  as  a 
book  illustrator.  Worked  about  1812— 1840. 

441  Rural  Scene  in  Spring.  Several  people  on  a  road  leading  by  fields 

where  farmers  are  setting  out  rice  plants.  Long  surimono.  Signed, 
Kuninao. 

Size,  7  x  201-8  inches.  Good  impression,  poor  condition. 

UTAGAWA  KUNINAGA 

Pupil  of  Toyokuni  I.  Designed  a  few  prints,  but  his  chief  occupation  was 
painting  decorations  for  lanterns.  Worked  about  1804-1825.  Died  before  1830. 

442  Geisha  at  a  Banquet.  Three  women  in  a  room  in  a  tea-house  by  the 

sea,  overlooking  Tsukuda  island,  with  a  fleet  of  fishing  boats  at 
anchor  in  its  lee.  Right-hand  sheet  of  a  triptych.  Signed, 
Kuninaga. 

Size,  lofi  x  U)}-8  inches.  Fine  impression,  in  good  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

UTAGAWA  KUNIYASU 

Pupil  of  Toyokuni  I.  Known  also  as  Nishikawa  Yasunobu.  Born  1794; 
died  1832. 

443  A  Geisha  in  Falling  Snow.  She  is  walking  along  the  bank  of  the 

Sumida  river  and  carries  an  umbrella  to  protect  her  coiffure  from 
the  falling  flakes.  Signed,  Kuniyasu. 

Size,  14Vs  x  lOfis  inches.  Good  impression,  in  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

444  Ueno  no  Daishi.  Visiting  the  Toeizan  Buddhist  Shrine  at  Ueno. 

An  elaborately  attired  oiran  standing  near  a  sign  post  in  the  temple 


103 


Second  Evening 


grounds.  Series:  Toto  Meisho,  i.e.,  “Famous  Places  in  the  Eastern 
Capital/’  Signed,  Kuniyasu.  Dated  Bunsei  2,  first  month,  lucky 
day,  i.e.,  January  26,  1819. 

Size,  14-]/ 8  x  10%  inches.  Fine  impression,  perfect  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

UTAGAWA  KUNIMARU 

Pupil  of  Toyokuni  I.  Worked  chiefly  as  a  hook  illustrator.  Date  of  birth 
not  known,  died,  about  1830. 

445  Shigeoka  of  Okamoto-ya.  An  elaborately  attired  courtesan  and  her 

kamuro.  She  is  supposed  to  typify  the  Chofu  Tama  river.  Series: 
Furyu  Mu  Tamagawa,  i.e.,  “Fanciful  Six  Tama  Rivers.”  Signed, 
Ichiyensai  Kunimaru. 

Size,  14%  x  10  inches.  Good  impression,  not  in  good  condition,  a 
piece  having  been  torn  from  the  lower  corner  at  the  right. 

446  Shirae  Gompachi.  Standing  figure  of  the  famous  ronin,  his  basket 

hat  resting  on  the  ground  by  his  side.  Signed,  Kunimaru. 

Kakemono-e.  Size,  28%  x  9%  inches.  Good  impression,  fair  con¬ 
dition  . 

KYUKOKU 

A  nineteenth  century  artist  about  whom  no  information  is  available. 

447  A  Yoshiwara  Beauty.  Standing  figure  of  an  oiran.  Signed,  Kyukoku. 

Kakemono-e.  Size,  28%  x  9%  inches.  Fine  impression.  Trimmed 
at  the  foot,  otherwise  in  fine  condition. 

ICHIOSAI  KUNICHIKA 

Pupil  of  Kano  Chilcanobu,  then  of  Kunisada,  but  did  not  use  the  name  of 
Utagawa. 

448  Yabase  no  Kiban.  “Returning  sails  at  Yabase.”  A  ferry  boat  laden 

with  passengers  putting  in  to  shore.  Through  the  fog  that  envelops 
the  distance  shadowy  forms  of  a  Daimyo  cortege  are  seen  crossing 
a  long  bridge.  Series:  Tokaido  no  Uchi  Zen  Dokoro,  i.e.,  “The 
Eating-Houses  on  the  Tokaido.”  Signed,  Kuniehika. 

Size,  13%  x  8%  inches.  Full  size.  Fine  impression,  perfect  condition. 
See  illustration . 

From  the  collection  of  Ernest  F.  Fenollosa. 


Second  Evening 


104 


No.  448 

KUNISADA  AND  HIROSHIGE 

Tokaido  Go-Ju-San  Tsugi  No  Uchi.  Fourteen  'prints  of  the  so-called 
Sho-hitsu  or  two  brush  Tokaido  series.  Figures  by  Kunisada  are  set  against  a 
background  of  Hiroshige’s  designs  for  the  so-called  “first”  Tokaido  series, 
redrawn,  with  some  variations,  on  a  different  scale  and  changed  to  a  vertical 
format.  Signed,  Kochoro  Kunisada.  Hiroshige's  signature  does  not  appear. 
As  his  designs  are  all  well  known  only  the  Kunisada  figures  are  here  described. 
Size,  10}/sx7fi  inches.  Fair  impressions,  in  good  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

449  Shinagawa.  A  courtesan  standing  by  a  hibachi. 

450  Hodogaya.  A  woman  holding  an  infant  in  her  arms. 

451  Totsuka.  A  woman  carrying  a  bundle  of  blue  and  white  cloth  across 

her  shoulders. 


452  Fujisawa.  An  oiran  tying  her  obi. 


105 


Second  Evening 


453  Hakone.  A  woman  carrying  a  wide  straw  hat. 

454  Mishima.  An  elaborately  dressed  woman  standing  on  a  brocade- 

covered  platform,  looking  at  a  case  of  books  and  writing  materials. 

455  Hara.  A  woman  with  a  towel  across  her  shoulders,  the  ends  held  in 

her  hands. 

456  Yoshiwara.  A  woman  pilgrim  to  Buddhist  shrines. 

457  Kambara.  A  woman  riding  on  a  black  carabao. 

458  Okitsu.  A  tea-house  waitress  carrying  a  tray  with  two  cups  of  tea, 

and  holding  an  infant  boy  on  her  back. 

459  Fuchu.  A  woman  traveller  carrying  her  luggage  hung  from  a  pole 

held  across  her  shoulders. 

460  Mariko.  A  courtesan  seated  by  a  bowl  in  which  sake  cups  are  floating. 

461  Fujieda.  A  woman  standing  and  turning  to  look  to  the  left. 

462  Shimada.  A  woman  seated  reading  a  letter. 

UTAGAWA  KUNISADA 

1786-1864 

463  Yuki  no  Niwa.  “A  Snowy  Garden.”  Girls  playing  in  the  snow, 

putting  the  finishing  touches  on  a  huge  snow  rabbit.  One  of  them 
holds  a  sake  cup  so  it  appears  as  the  rabbit’s  eye.  Series:  Azuma 
Genji,  i.e.,  “Genji  at  the  Eastern  Capital.”  Signed,  Toyokuni. 
Dated  12t.h  month  tiger  year  Ansei  1,  i.e.,  January  1855. 

Size,  14/4  x  9%  inches.  Fine  impression;  slightly  trimmed,  otherwise 
in  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

464  Shunkoku  Yakata  no  Kotobuki.  A  house  party  (literally,  celebration) 

in  spring.  Right-hand  sheet  of  a  triptych.  Signed,  Ichiyosai 
Toyokuni.  About  1848. 

Size,  14  x  9%  inches.  Fine  impression.  Trimmed  at  the  head  and 
foot;  otherwise  in  perfect  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

465  At  Ume  Yashiki.  An  elaborately  dressed  woman  and  a  boy  astride 

a  hobby  horse  in  the  famous  “Plum  Garden.”  One  sheet  of  a 
triptych.  Signed,  Ichiyosai  Toyokuni.  About  1848. 

Size,  14)4  x  9%  inches.  Fine  impression.  Somewhat  trimmed;  other¬ 
wise  in  perfect  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 


Second  Evening 


106 


466  Cooling  off  at  Shijo-machi.  Two  women  on  a  low  platform  built  over 

the  bed  of  the  Kamo  river  in  the  Shijo  district  in  Kyoto,  and  a  girl 
standing  in  the  shallow  water  which  does  not  cover  her  insteps. 
Middle  sheet  of  a  triptych.  Signed,  Toyokuni.  Seal-date, 
Dragon  11,  i.e.,  eleventh  month,  1856. 

Size,  1414x10  inches.  Fine  impression,  in  fine  condition  except 
trimmed  at  the  head. 

467  A  People’s  Champion.  Three-quarter  length  portrait  of  the  otokodate 

Danshichi  Kurobei.  Series:  Tosei  Suikoden,  i.e.,  “A  Modern 
Suikoden,”  or  “Biographies  of  Famous  Heroes.”  Signed,  Hakuko 
Toyokuni.  Engraved  by  Taki,  and  very  carefully  printed.  Dated, 
Goat  year,  1859. 

Size,  1 4Vs  x  9}/2  inches.  Fine  impression,  perfect  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

KATSUKAWA  SHUNKO 

Pupil  of  Shunsho.  Date  of  birth  unknown;  died  1827.  Worked  from  about 
1770  to  about  1789,  when  he  teas  incapacitated  by  a  stroke  that  paralyzed  his 
right  side  and  arm. 

Portraits  of  Actors.  Unless  otherwise  noted,  of  hosoe  size,  good  impres¬ 
sions,  in  good  condition. 

468  The  Fifth  Ichikawa  Danjuro  as  Kudo  Suketsune.  This  was  one  of 

the  roles  in  which  he  achieved  his  greatest  fame.  As  he  played  it 
eleven  times  in  the  years  from  1773  to  1788  the  performance 
represented  in  this  print  has  not  been  determined. 

See  illustration. 

469  The  Fifth  Ichikawa  Danjuro  as  Kosaka  Danjo. 

470  The  Fifth  Ichikawa  Danjuro  as  a  daimvo  attired  in  the  formal  naga- 

bakama. 

471  The  Fifth  Ichikawa  Danjuro  as  a  samurai  standing  upon  an  overturned 

six-fold  screen. 

472  The  Second  Ichikawa  Yaozo  as  a  samurai  in  fighting  trim  with  his 

hand  grasping  the  hilt  of  his  sword  in  readiness  to  draw  it. 

473  The  Fourth  Ichikawa  Danzo  (?)  as  an  angry  man  holding  a  bale  of  rice. 


107 


Second  Evening 


474  The  Second  Ichikawa  Monnosake  as  Soga  no  Gor5,  standing  before 

a  rack  of  enormous  arrows,  and  brandishing  a  mirror. 

475  The  Second  Ichikawa  Monnosuke  as  a  samurai  in  formal  kamishimo, 

but  with  the  kami  thrown  off  from  his  right  shoulder,  a  woman’s 
hair-comb  stuck  in  his  hair  on  one  side  of  his  head,  a  small  brush¬ 
like  duster  on  the  other  side  and  a  piece  of  blue  and  white  striped 
cloth  held  in  his  left  hand. 


No.  468 


470  The  Second  Ichikawa  Monnosuke  as  (?)  Hannya  no  Goro. 

477  The  Second  Ichikawa  Monnosuke  as  a  daimyo  standing  in  a  parlor. 

478  The  First  Nakamura  Nakazo  as  one  of  the  performers  in  a  shosa,  a 

kind  of  mimetic  dance  peculiar  to  the  theatre.  A  samisen  player 
with  eyes  closed  sits  on  a  platform  in  the  rear. 

470  Onoe  Matsusuke  as  an  otokodate  holding  a  pipe. 


Second  Evening 


108 


No.  480 


480  Nakamura  Riko,  formerly  Matsue,  as  a  tall  woman  in  a  black  kimono, 

standing  on  the  bank  of  a  ri  ver. 

See  illustration. 

481  The  Fourth  Iwai  Hanshiro  as  a  woman  in  a  pale  violet  furisode,  carrying 

a  bundle  of  straw  tied  upon  her  back  and  a  makimono  with  the 
tie  held  between  her  teeth  so  as  to  leave  her  hands  free. 

482  The  Third  Segawa  Kikunojo  as  a  samurai  carrying  a  flower  bucket 

with  an  ikebana  of  plum,  citron,  and  other  flowers. 

483  Arashi  Murajiro  as  a  tall  oiran  holding  a  love  letter  which  is  dropping 

to  the  floor  beside  her. 

484  The  Third  Otani  Hiroji  as  a  samurai  standing  near  a  waterfall. 

485  The  Second  Bando  Mitsugoro  as  a  samurai  fencing  with  some  one 

not  shown  in  this  sheet. 

486  The  Third  Sakata  Hangoro  as  an  otokodate  with  drawn  sword  in  hand 

standing  under  a  willow  tree  on  a  river  bank  at  night. 


109 


Second  Evening 


487  The  Second  Ichikawa  Komazo  as  a  samurai  ready  for  a  fight  and  with 

his  long  sword  partly  drawn. 

488  Three  Actors  in  a  Shosa.  At  the  right  the  second  Ichikawa  Monnosuke 

holding  a  gigantic  paper  fish;  in  the  middle,  Onoe  Matsusuke 
holding  up  a  mirror;  at  the  left,  the  fourth  Iwai  Hanshiro  as  a 
woman  holding  a  sword.  In  the  background  a  representation  of 
the  Yatsu-hashi  or  eight-platform  bridge  in  the  province  of  Mikawa. 

Hosoe  triptych.  Size,  12%xl6%  inches.  Fine  impression,  in  fine 
condition. 

KATSUSHIKA  HOKUSAI 

1760-1849 

Shokoku  Meikyo  Kiban.  Famous  bridges  in  the  home  provinces.  Five 
of  the  eleven  prints  of  the  series  and  one  duplicate.  Each  signed  I -itsu,  formerly 
Hokusai.  Size,  about  10  x  15  inches. 

489  Tokaido  Okazaki  Yahagi  no  Hashi.  The  bridge  over  the  Yahagi 

river  at  Okazaki  on  the  Tokaido. 

Good  impression,  in  fine  condition. 

490  Osaka  Temmabashi.  The  Temma  bridge  in  Osaka  seen  on  the 

evening  of  the  lantern  festival. 

Good  impression,  fair  condition. 

491  Suwo  Kintai  Bashi.  Kintai  bridge  in  the  province  of  Suwo. 

Good  impression,  fair  condition. 

492  Kameido  Tenjin  Taiko-bashi.  The  drum  bridge  in  the  grounds  of  the 

Tenjin  shrine  at  Kameido,  Edo. 

Good  impression,  fair  condition. 

493  Kameido  Tenjin  Taiko-bashi. 

Another  impression,  faded  and  stained. 

494  Ajikawa-guchi  Tempozan.  Tempozan  bridge  at  the  mouth  of  the 

Aji  river,  Osaka. 

Good  impression,  good  condition. 

H yakunin  Isshu  Ubaga  Etoki.  The  hundred  poems — a  famous  old 
collection — explained  by  the  nurse.  Five  prints  of  the  series  and  one  duplicate. 
Each  signed  Manji,  formerly  Hokusai.  Size,  about  10  x  15  inches. 

495  Ode  by  Kiyowara  no  Fukayaba.  Evening  scene:  pleasure  boats  on  a 

broad  river. 

Good  impression,  good  condition. 


Second  Evening 


110 


496  Ode  by  Sanji  Hitoshi.  A  nobleman  attended  by  two  servants  walking 

along  a  path  through  fields  enveloped  in  long  clouds  of  fog. 
Ordinary  impression,  fair  condition. 

497  Ode  by  Onakatomi  Yoshinobu.  The  poet  sits  on  a  hill  overlooking 

a  wide  plain,  while,  outside  the  Imperial  gate  just  below,  warders 
are  grouped  about  a  fire. 

Good  impression,  fair  condition. 

498  Ode  by  Fujiwara  no  Michinobu.  Travellers  being  carried  in  kago 

down  a  hill  in  the  foreground  and  along  a  road  winding  over  a 
gray  plain  stretching  to  the  horizon  where  trees  are  silhouetted 
against  the  early  morning  sky. 

Good  impression,  fair  condition. 


No.  499 


499  Ode  by  Sanjo  no  In.  Shinto  ceremony  in  the  Imperial  palace  in 

honor  of  the  autumn  full  moon. 

Good  impression,  fine  condition.  See  illustration. 

500  Ode  by  Sanjo  no  In. 

Another  good  impression,  not  in  quite  so  good  condition. 


THIRD  SESSION 

FRIDAY  EVENING,  NOVEMBER  18,  1921 
BEGINNING  AT  8:00  O’CLOCK 


Catalogue  numbers  501  to  748 


TEISAI  HOKUBA 

Pupil  of  Hokusai.  Better  known  as  a  painter  than  as  a  print  designer. 
Born  1770 ;  died  1844- 

501  Surimono.  A  group  of  women  in  the  parlor  of  a  great  house.  A  lady 

stands,  holding  a  poem  slip  and  a  brush,  while  a  kneeling  maid 
holds  a  writing  box  containing  an  inkstone  where  her  mistress 
can  conveniently  reach  it.  Signed,  Hokuba. 

Size,  8  x  10  %  inches.  Ordinary  impression,  condition  only  fair. 

502  A  Cherry  Flower  Viewing  Picnic  Party.  Three  women  under  cherry 

trees  on  the  bank  of  a  river.  A  man  servant  is  spreading  a  cloth 
upon  the  ground.  Further  back  the  other  members  of  the  party 
are  occupying  themselves  in  various  ways.  Double  sheet  print 
from  a  volume  of  poems.  Signed,  Hokuba. 

Size,  8 fix  11%  inches.  Good  impression.  The  subject  haring  been 
printed  on  two  pages  there  is,  of  course,  a  vertical  line  where  the  parts  are 
joined  together. 

503  Group  under  Cherry  Trees  at  a  Ferry  Landing.  Long  surimono. 

Signed,  Hokuba. 

Size,  7  x  20%  inches.  Ordinary  impression,  poor  condition. 

UTAGAWA  TOYOHIRO 

Pupil  of  Toyoharu.  Personal  name  Okajima  Tojiro.  Born  1763;  died 
1828. 

504  Mimeguri  no  Bosetsu.  Evening  snow  at  the  Mimeguri  Shinto  shrine 

on  the  bank  of  the  Sumida  river.  Series:  Edo  Meisho.  Signed, 
Toyohiro. 

Size,  10%  x  15 %  inches.  Good  impression,  fair  condition. 

Ill 


Third,  Evening 


112 


505  Atago  Aki  no  Tsuki.  “The  autumn  moon  at  Atago  hill.”  Series: 

Edo  Meisho.  Signed,  Toyohiro. 

Size,  10fi x  15  inches.  Good  impression,  not  in  very  good  condition, 
somewhat  stained,  and  the  moon,  which  was  rendered  by  delicate  gauffrage, 
no  longer  visible. 

506  Geisha  as  Ebisu  and  Daikoku.  Right-hand  sheet  of  a  triptych 

representing  geisha  with  the  emblems  of  the  Shichi  Fuku-jin,  or, 
Seven  Fortune  Gods.  Ebisu  is  indicated  by  the  Tai  (Sea  Bream) 
on  the  fan  held  by  the  standing  woman;  Daikoku  by  the  tsuchi 
(mallet)  that  her  companion  is  using  as  a  tsuzumi  (a  kind  of  drum). 
A  table  in  the  background  is  laden  with  the  shippo,  or  precious 
things  of  the  Buddhists,  i.e.,  the  mystic  gem,  the  key,  the  clove, 
the  invisible  hat,  and  the  lucky  rain-coat.  Not  signed. 

Size,  14%  x  9%  inches.  Fine  impression,  colors  faded,  otherwise  in 
fine  condition. 

507  A  Samurai  Woman,  one  of  the  attendants  in  a  mock  daimyo  cortege. 

Signed,  Toyohiro. 

Size,  9\i  x  3]fi  inches.  Ordinary  impression,  good  condition. 

508  A  Kite-flying  Party.  A  group  of  women  and  children  standing  amid 

blossoming  plum  trees  on  low  hills  surrounding  the  archery  practice 
ground  where  men  are  flying  kites.  First  and  second  sheets  of  a 
triptych  mounted  as  a  diptych.  Signed,  Toyohiro. 

Size,  15  x  20  inches.  Good  impression,  fair  condition.  See  illustration. 

UTAGAWA  HIROSHIGE 

1797-1858 

Tokaido  Go-Ju-San  Tsugi  No  Uchi.  Fourteen  prints  ( three  of  them 
duplicates )  of  the  series  known  as  the  Gyosho  Tokaido  from  the  style  in  which 
the  title  is  written.  It  is  also  called  the  E-Tatsu  Tokaido  from  the  business 
designation  of  the  publisher  Ezaki-ya  Tatsuzd.  Each  signed,  Hiroshige.  Size, 
about  8  x  12fi  inches. 

509  Hara.  View  of  Fuji  pond  and  the  station  for  changing  horses;  Mt.  Fuji 

in  the  background.  No.  14  of  the  series. 

Good  impression,  good  condition. 


113 


Third  Evening 


510  Yoshiwara.  The  rest-house  and  shop  for  the  sale  of  white  sake,  straw 

hats,  and  umbrellas;  Fuji  in  the  distance.  No.  15. 

Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

511  Yoshiwara.  Another  fine  impression,  in  fine  condition. 


No.  508 

512  Okabe.  View  of  the  wayside  tea-house  on  the  summit  of  Mt.  Utsu, 

which  advertises  as  its  celebrated  product  rice  balls  (dango)  strung 
on  bamboo  skewers.  These  are  shown  displayed  to  tempt  travellers. 
No.  22. 

Ordinary  impression,  fair  condition. 

513  Shirasuka.  The  wide  prospect  from  Sea-view  Hill.  No.  33. 

Fine  impression,  in  fine  condition. 

514  Fujikawa.  View  of  the  shops  on  the  village  street,  which  is  so  steep 

that  stones  are  placed  across  it  at  short  intervals  to  prevent  snow 
slides.  No.  38. 

Fine  impression,  in  fine  condition. 


Third  Evening 


114 


515  Yokkaichi.  View  of  the  inn  located  where  the  road  to  the  Shinto 
shrine  branches  off.  No.  44. 

Fine  impression,  in  fine  condition. 


No.  516 


516  Ishiyakushi.  Travellers  approaching  the  station  in  a  snow  storm. 

No.  45. 

Fine  impression,  in  fine  condition.  See  illustration. 

517  Ishiyakushi.  Another  impression,  with  darker  gray  sky. 

In  fine  condition. 

518  Shono.  Changing  horses  and  porters  at  the  station.  No.  46. 

Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

519  Shono.  Another  impression,  colors  slightly  different  in  hue. 

In  good  condition. 

520  Kameyama.  Porters  halting  for  a  rest  on  the  up-hill  road.  No.  47, 

Fine  impression ,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

521  Mizukuchi.  Travellers  approaching  the  station,  where  a  man  seated 

on  the  ground  in  front  of  a  shop  is  beating  willow  branches  with 
a  heavy  mallet  to  remove  the  bark.  No.  51. 

Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 


115 


Third  Evening 


522  Otsu.  View  of  the  Post-station,  with  a  glimpse  of  Lake  Biwa.  No.  54. 

Fine  impression ,  in  fine  condition. 

MARU-SEI  TOKAIDO 

Fourteen  prints  of  the  Tokaido  set  published  by  Mar u-Sei  about  18f3-18f5. 
Each  signed,  Hiroshige.  Size,  about  8%x  13 1  2  inches. 

523  Nihon  Bashi.  No.  1  of  the  series.  View  of  the  bridge  in  early  morning; 

fishmongers  and  other  tradespeople  crossing.  The  series  title  is 
repeated  and  the  business  name  of  the  publisher  is  given  in  the 
characters  on  the  ends  of  the  fireproof  storehouses  lining  the  further 
bank  of  the  canal  that  the  bridge  crosses. 

Ordinary  impression,  in  fair  condition. 

524  Kanagawa.  View  of  a  row  of  tea-houses  along  the  highway,  and  the 

blue  water  of  Edo  bay  beyond.  No.  4. 

Ordinary  impression,  fair  condition. 

525  Numazu.  The  narrow  Miho  no  Matsubara  peninsula  in  the  fore¬ 

ground;  Mt.  Fuji  towering  above  a  range  of  hills  in  the  background. 
No.  13. 

Fine  impression,  in  fair  condition. 

526  Okitsu.  Junks  sailing  along  the  coast;  Fuji  in  the  distance.  No.  18. 

Good  impression,  in  fine  condition. 

527  Mariko.  The  houses  bordering  the  winding  village  street,  and  the 

hills  rising  above  the  valley  in  which  it  is  located,  seen  through 
falling  snow  in  early  evening.  No.  21. 

Fine  impression,  in  good  condition.  See  illustration. 

528  Kanaya.  View  of  the  Oi  river,  Kanaya  hill  in  the  foreground,  with 

the  village  nestling  in  a  pine  grove  at  its  foot.  No.  25. 

Good  impression,  in  good  condition. 

529  Kakegawa.  Farmers  planting  rice  in  the  fields.  A  man  passing  along 

the  highway  at  the  left  where  stands  a  huge  stone  lantern  and  the 
torii  of  a  Shinto  shrine.  No.  27. 

Fine  impression,  in  fine  condition. 

530  Fukuroi.  The  highway  leading  across  the  fields  to  the  village  in  a 

grove  of  trees  at  the  right;  and,  in  the  sky  above  four  great  kites, 
the  product  for  which  the  village  was  famous.  No.  28. 

Fine  impression,  in  fine  condition. 


Third  Evening 


116 


No.  527 


531  Mitsuki.  View  of  the  Tenryugawa  (Heaven-dragon  river),  with  many 

boats  carrying  travellers  across  the  two  branches  that  are  separated 
by  a  wide  sandbar  in  mid-stream.  No.  29. 

Fine  impression,  in  good  condition.. 

532  Naraxni.  View  of  the  village  street  with  shops  for  the  sale  of  shibori, 

a  kind  of  dyed  cotton  cloth  made  at  the  neighboring  village  of 
Arimatsu.  No.  41. 

Fine  impression ,  in  fine  condition  save  that  it  is  trimmed  34  inch  at  the 
left  o,nd  has  a  vertical  crease  in  the  centre. 

533  Kameyama.  View  of  the  road  leading  by  the  castle  moat,  and  of 

the  bridge  across  the  moat  in  the  distance.  No.  47. 

Fine  impression ,  in  fine  condition. 

534  Tsuchiyama.  Travellers  on  the  road  by  the  river,  here  a  wide  shallow 

stream  with  inanjr  boulders  in  its  bed.  No.  50. 

Good  impression,  fine  condition. 

535  Ishibe.  View  of  the  inn  at  the  station.  In  a  room  at  the  left  a  man 

is  waiting  for  the  food  a  waitress  is  bringing  him.  In  another  room 
a  wear}''  traveller  lying  prone  is  being  massaged  by  a  blind  anma. 
At  the  right  another  guest  is  taking  a  bath  in  a  large  tub.  No.  52. 
Fine  impression,  in  fair  condition. 


117 


Third  Evening 


Otsu.  View  of  one  of  the  streets  of  the  town.  A  shop  for  the  sale  of 
the  paintings  known  as  Otsu-e  is  shown  at  the  left,  with  a  man 
looking  at  four  of  the  pictures  spread  on  the  platform  before  him, 
and  a  woman  delivering  a  rolled  up  picture  to  a  customer  who  has 
purchased  it.  No.  54. 

Good  impression.  Has  a  centre  crease  and  several  moth  holes. 

Yoshiwara  Emonzaka  no  Uchi.  The  hill  leading  to  the  entrance  gate 
of  the  Yoshiwara.  Series:  Toto  Meisho  Saka  Zukushi  no  Uchi, 
i.e.,  “Famous  Places  in  Edo;  the  Hills.”  Signed,  Hiroshige. 

Size,  9 %  x  13 %  inches.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

Oji  Inari  Yashiro.  The  Inari  Shinto  shrine  at  Oji,  a  surburb  of  Edo. 
Series:  Edo  Meisho,  published  by  Fujioka-ya  Keisuke.  Signed, 
Hiroshige. 

Size,  8 Yi  %  13}/ 2  inches.  Late  impression,  poor  condition. 

Meguro  Fudo.  The  Fudo  shrine  at  Meguro.  Series;  Edo  Meisho, — 
one  of  several  bearing  that  title,  published  by  Sano-ya  Kihei. 
Signed,  Hiroshige. 

Size,  8  fig  x  13  fig  inches.  Late  impression,  fair  condition. 

SHINSEN  EDO  MEISHO 

“New  selection  of  views  of  famous  places  in  Edo.”  Three  prints  of  the 
series  published  by  Mori-ya  Jihei.  Signed,  Ichiryusai  Hiroshige.  Size, 
8  fii  x  1 3  y2  inches.  Ordinary  impressions,  fair  condition. 

540  Shiba  Atago-san  Jo  Chobo  no  Zu.  View  from  the  summit  of  Atago 

hill,  Shiba  district. 

541  Gotenyama  Manka  no  Zu.  Cherry  trees  in  full  bloom  on  Goten  hill. 

542  Shinobazu  Ike  Shin  Dote  Haru  Kei.  Spring  view  of  the  new  embank¬ 

ment  at  Shinobazu  pond. 

EDO  MEISHO  MITSU  NO  NAGAME 

“Moon — snow — floiver  views  of  famous  places  in  Edo.”  Two  prints  of  the 
series  published  by  Maru-ya  Jinpachi.  Signed,  Hiroshige.  Size,  8%  x  13  fig 
inches.  Both  late  impressions,  in  good  condition. 

543  Nihon  Bashi  Yuki  Hare.  Nippon  bridge  in  clear  weather  after  a  snow¬ 

fall. 


536 


537 


538 


539 


Third  Evening 


118 


544  Ueno  Hana  Zakari.  Cherry  trees  in  bloom  at  Ueno.  View  in  the 
grounds  of  Toeizan  temple. 

KOTO  MEISHO 

“Famous  Places  in  Edo,”  Koto  being  one  of  the  fancy  names  of  the  city. 
Four  subjects  and  one  duplicate  of  the  earliest  of  the  five  series  bearing  this  title 
published  by  Scino-ya  Kihei.  Each  signed,  Hiroshige.  Size,  about  8%  x  13% 
inches. 


No.  545 

545  Gotenyama  Yukyo.  “Taking  pleasure  on  Goten  hill. ”  Picnic  parties 

under  the  blossoming  cherry  trees. 

Exceptionally  beautiful  impression,  in  fine  condition.  See  illustration. 

546  Asukayama  Hanami.  Cherry  blossom  viewing  on  Asuka  hill. 

Good  impression,  in  good  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

547  Shinobazu  no  Ike  Benten  Yashiro.  The  Benten  shrine  in  Shinobazu 

pond.  View  in  early  spring. 

Late  impression,  fair  condition.  Soiled  along  the  line  of  a  vertical  crease. 

548  Shinobazu  no  Ike  Benten  Yashiro. 

Another  late  im,pression,  similar  condition. 


119 


Third  Evening 


549  Kasumi-ga-Seki.  View  of  the  street  on  New  Year’s  clay.  A  troop 
of  strolling  lion-dancers  at  the  left,  and  two  women  minstrels  at 
the  right. 

Fine  impression ,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 


Twro  Prints  of  the  Koto  Meisho  Series  Published  by  Izumi-ya 
Ichibei.  Each  signed ,  Hiroshige.  Size,  about  7%  x  12%  inches. 

550  Gotenyama  no  Hana.  Cherry  flowers  on  Goten  hill. 

Ordinary  impression,  fair  condition.  Slightly  soiled  along  the  line  of 
a  vertical  crease. 

551  Yoshiwara  Nihon  Zutsumi.  View  of  the  Yoshiwara  and  the  Nippon 

embankment  on  a  moonlight  evening. 

Good,  though  late  impression,  in  good  condition. 


552  Yamashita  Go  Mon  no  Uchi.  “Inside  the  Yamashita  gate  to  the 

Shogun’s  yashiro.  ”  Series:  Koto  Shokei,i.e.,  “Views  in  theEastern 
Capital.”  Signed,  Hiroshige. 

Size,  8%  x  13  f  2  inches.  Fine  impression,  in  fine  condition. 

NIHON  MINATO  ZUKUSHI 

“  The  Harbors  of  Japan.”  Three  of  the  ten  prints  comprising  the  series. 
Each  signed,  Hiroshige.  Size,  aboutS%  x  13%  inches  Ordinary  impressions, 
in  good  condition. 

553  Marugame.  A  nearly  land-locked  harbor.  Many  boats  at  the  wharves 

and  others  sailing  out. 

554  Toto  Nakasu  Mitsumata.  The  three-mouthecl  harbor  at  Nakasu  on 

one  of  the  inlets  of  Edo  bay. 

555  Sunshu  Shimizu.  The  harbor  of  Shimizu  in  the  province  of  Sunshu. 

KWACHO 

flower  and  bird  subjects.  Twelve  prints  of  the  koban  size,  each  signed 
Hiroshige. 

556  Sakura  ni  Buncho.  Cherry  blossoms  and  bird.  Printed  in  tones  of 

blue,  with  only  a  touch  of  red  on  the  bird’s  beak  and  feet. 

Size,  9x6%  inches.  Late  impression,  fine  condition. 


Third  Evening 


120 


557  Wild  Rice  and  Mandarin  Ducks.  This  is  a  very  rare  print.  It  is 

probable  that  the  blocks  were  destroyed  before  more  than  a  small 
edition  was  printed. 

Size,  8l/2  x  6  inches.  Good  impression,  fair  condition. 

558  Red-flowered  Plum  (Kobai)  and  Bird.  This  is  another  rare  print. 

The  writer  of  this  catalogue  cannot  recall  having  seen  more  than 
two  other  impressions  of  it. 

Size,  8l/i  x  6‘fi  inches.  Late  impression,  poor  condition,  surface 
abraded. 

559  Kikyo  ni  Suzuki  ni  Suzume.  Large-flowered  flat-bell  (kikyo),  Suzuki 

grass,  and  a  sparrow.  Printed  in  gray  and  black. 

Size,  9f 8  x  6%  inches.  Fine  impression,  fine  condition. 

560  Cherry  Branch  and  Bird.  The  bird  is  perched  upon  a  slender  branch 

that  is  in  leaf,  but  is  without  blossoms.  Printed  in  gray  and  black. 
Size,  8%  x  6}^  inches.  Good  impression,  fine  condition. 

561  Crysanthemums  and  Bird.  Printed  in  tones  of  gray. 

Size,  8%  x  6 %  inches.  Late  impression,  fair  condition. 

562  Frogs  and  Weeds  in  a  Swirl  of  Water.  Printed  in  gray  and  black. 

Size,  8fix5fs  inches.  Late  impression,  good  condition. 

563  Ume  ni  Uso.  An  eastern  bullfinch  clinging,  head  downward,  to  a 

branch  of  a  plum  tree. 

Size,  6l/i  x  4/8  inches.  Good  impression,  good  condition. 

564  Bara  ni  Uso.  Rose  and  eastern  bullfinch,  the  bird  clinging  to  a  branch, 

head  downward.  Printed  in  blue  and  pink,  two  tones  of  each. 
Size,  9x6}/%  inches.  Late  impression,  fair  condition. 

565  Wistaria  and  White-headed  Bird.  Printed  in  dark  and  light  blue 

and  beni. 

Size,  8  J'§  x  6x/2  inches.  Late  impression,  fine  condition. 

566  Plum  and  Paroquet.  The  plum  blossoms  are  printed  in  green.  Doubt¬ 

less  in  the  early  impressions  pink  or  gray  was  used. 

Size,  9 Ys  %  6%  inches.  Late  impression,  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

567  Magnolia  and  Kingfisher.  The  bird  clings  to  a  slender  stalk  and  is 

looking  down. 

Size,  9 x  6 1/2  inches.  Fine  impression,  fair  condition. 


121 


Third  Evening 


No.  568 


UTAGAWA  KUNIMASA 

Pupil  of  Toyokuni.  Perso7ial  name  Jinsuke.  Born  1773;  died  1810. 

568  Iwai  Kumesaburo  as  Tomoe-gozen,  in  “Seisuiki  ”  at  the  Miyako 
theatre,  Edo,  from  the  fifth  of  the  fifth  month  of  Kansei  9,  i.e., 
from  May  31,  1797.  Signed,  Kunimasa. 

Size,  l^/sxlO  inches.  Fine  impression,  in  good,  though  not  quite 
perfect  condition.  See  illustration. 

ISODA  KORYUSAI 

Worked  1768-1786 

Hinagata  Wakana  No  Hatsu  Moyo.  “Fresh  dyed  designs  of  young 
greens ,”  the  poetical  title  of  the  series  of  oban  portraits  of  Yoshiwara  beauties 
published  by  Nishimura-ya  and  Tsuta-ya,  issued  at  intervals  from  about  1775  to 
about  1 780.  Four  prints  of  the  series. 


Third  . Evening 


122 


569  Shioginu  of  Tsuta-ya,  on  parade  with  two  girl  attendants  and  a  man 

servant  holding  an  umbrella  over  her.  Signed,  Koryu. 

Size,  lfY  r  ,9Y  inches.  Trimmed  from  15x10.  Good  impression, 
in  fair  condition. 

570  Chozan  of  Choji-ya,  in  street  costume,  attended  by  her  two  kamuro 

walking  hand-in-hand.  Signed,  Koryusai. 

Size,  15 x  10%  inches.  Good  impression,  somewhat  toned. 

571  Makino-o  of  Okamoto-ya  walking  with  another  woman  and  followed 

by  two  kamuro.  Signed,  Koryusai. 

Size,  14%  x  10  inches.  Ordinary  impression,  register  not  perfect. 

572  Hayama  of  Asahi-maru-ya  seated  while  two  women  attendants  hold 

up  a  plaid  haori  (coat)  having  a  picture  of  Mt.  Fuji  upon  its  lining. 
Signed,  Bu  Ko  Yagenbori  Inshi  Koryu. 

Size,  15%  x  10ys  inches.  Fine  impression,  browned. 


573  Two  Geisha.  They  are  walking  together  under  an  umbrella.  Signed, 

Korvii. 

Hashira-e.  Size,  26 %  x  4ZA  inches.  Fine  impression,  somewhat 
browned. 

574  Gompachi  and  Komurasaki.  The  lovers  in  komuso  attire,  standing 

together  under  a  weeping  willow  tree.  Signed,  Koryusai. 

Hashira-e.  Size,  25Yz  x  4l/L  inches.  Fine  impression ,  fair  condition. 

575  Gompachi  and  Komurasaki. 

Another  and  later  impression.  Browned. 

576  Narcissus.  A  woman  looking  at  a  flower  arrangement  of  narcissus 

which  her  companion,  who  is  seated  and  holds  a  pair  of  shears, 
has  placed  in  a  holder  upon  a  post  of  the  house.  Signed,  Koryu. 

Hashira-e.  Size,  26  x  414.  inches.  Ordinary  impression,  fair  con¬ 
dition,  except  trimmed  nearly  two  inches  at  the  foot. 

.577  Narcissus. 

Another  impression,  size,  27  x  4%  inches.  Browned. 

578  Parading  in  the  Snow.  An  oiran  walking  in  snow  attended  by  a  man¬ 

servant  who  holds  an  umbrella  over  her.  Signed,  Koryusai. 

Hashira-e.  Size,  27  x  4%  inches.  Good  impression,  not  in  very  good 
condition. 

579  Retrieving  her  Shuttlecock.  A  young  woman  standing  upon  a  chozu- 

bachi  and  reaching  with  a  pipe  to  disengage  her  shuttlecock  that 


123 


Third  Evening 


has  lodged  on  a  branch  of  a  blossoming  plum  tree.  Signed, 
Koryusai. 

Hashira-e.  Size,  27%  x  5  inches.  Good  impression,  somewhat 
browned. 

580  The  Snow-clogged  Taka-geta.  A  young  woman  walking  under  an 
umbrella  in  falling  snow,  lifts  her  foot  while  a  young  man  kneels 
to  remove  the  snow  from  her  geta.  Signed,  Koryusai. 

Hashira-e.  Size,  27  x  4Vi  inches.  Good  impression,  very  slightly 
browned. 


UTAGAWA  TOYOHARU 

Founder  of  the  Utagawa  school.  Personal  name  Utagawa  Masaki.  Com¬ 
mon  name  Shojiro,  later  changed  to  Shinzaemon.  Pupil  of  Toriyama  Sekiyen 
( Toyofusa ).  Born  1734;  died  February  1814- 

581  A  Modern  Murasaki  Shikibu.  Instead  of  the  noble  lady  who  wrote 
the  Genji  Monogatari  at  Ishiyama-dera,  a  young  man  is  depicted 
seated  at  a  table  in  a  room  in  the  temple  reading  a  love  letter,  and 
an  oiran  stands  behind  him  holding  a  gigantic  spear.  Signed, 
Toyoharu. 

Hashira-e  Size,  27  x  4%.  inches.  Good  impression,  in  fair  condition. 


UCHIMASA 

So  far  as  is  known  this  signature  appears  only  upon  the  print  here  listed. 
It  seems  probable  therefore  that  it  is  an  unusual  studio  name  of  some  well-known 
artist,  perhaps  Toyoharu. 

582  On  the  River.  A  young  man  seated  in  a  boat  and  a  young  woman 
standing  by  his  side,  holding  a  long  bamboo  pole.  Not  signed 
but  the  signature  has  probably  been  removed  to  make  the  print 
pass  for  a  Harunobu.  It  is  removed  from  all  the  impressions, 
three  in  number,  that  the  writer  of  this  catalogue  has  seen,  but 
appears  upon  the  impression  reproduced  in  the  Hayaslii  catalogue. 

Hashira-e.  Size,  27  fix  4%.  inches.  Late  impression,  in  fair  con¬ 
dition.  See  illustration,  p.  124- 

From  the  collection  of  Frederick  W.  Gookin. 


No.  582 
124 


125 


Third  Evening 


TORII  KIYONAGA 

1752-1813 

583  Going  Fishing.  A  geisha  accompanied  by  a  matron  bearing  a  wooden 

case  of  fishing  tackle  standing  upon  a  boat  landing,  ready  to 
embark  upon  a  boat  in  which  a  man  is  seated,  that  is  coming  up 
alongside  the  wharf.  Signed,  Kiyonaga. 

Size,  10)4:  x  7%  inches.  Ordinary  impression ,  somewhat  toned. 

584  Two  Geisha  of  Nakasu.  One  of  the  women  is  seated  on  the  veranda 

of  a  house,  the  other  stands  on  the  ground  before  her.  Series: 
Nakasu  no  Hana,  “Flowers  of  the  Nakasu  district.”  Signed, 
Kiyonaga. 

Size,  10%  x  7%  inches.  Late  impression,  slightly  toned. 

585  Sumidagawa.  This  is  the  artist’s  title.  A  man  is  carrying  a  woman 

ashore  on  his  back  from  a  large  pleasure  barge  drawn  up  at  a 
landing  on  low  ground  near  rice  fields  where  another  woman 
stands  awaiting  them.  Series,  Edo  Meisho  Shu,  i.e.,  “Collection 
of  Famous  Edo  Views.”  Signed,  Kiyonaga. 

Size,  10%  x7]/2  inches.  Good  impression,  slightly  toned. 

586  Looking  in.  A  woman  in  an  Indian -red  kimono  looking  in  through 

the  parted  fusuma  (sliding  partitions)  at  another  woman  who  is 
seated  upon  her  bed.  Signed,  Kiyonaga. 

Size,  9%  x  7  inches.  Late  impression,  not  in  very  good  condition. 

587  After  the  Bath.  A  tall  woman  standing,  drying  her  ear  with  the 

sleeve  of  her  yukata  while  she  looks  down  at  her  infant  son  who 
is  being  lifted  up  by  a  woman  seated  upon  the  floor.  Series: 
Fuzoku  Azuma  no  Nishiki,  i.e.,  “Popularized  Brocade  of  the 
Eastern  Capital.”  Signed,  Kiyonaga. 

Size,  14 %  x  9%  inches.  Good  impression,  in  very  poor  condition, 
toned  and  faded  so  that  only  faint  traces  of  color  are  left.  As  it  stands 
it  is  virtually  an  impression  of  the  key-block  only. 

588  Cooling  off  at  Shinagawa.  A  young  man  and  two  geisha  in  a  tea¬ 

house  by  the  shore  of  Edo  bay  at  Nakasu.  Series:  Nakasu  no 
Hana.  Signed,  Kiyonaga. 

Size,  9%  x  7%  inches.  Trimmed  a  little  at  the  foot.  Late  impression, 
in  fair  condition. 


Third  Evening 


126 


589  At  Enoshima.  Two  women  on  the  sands  at  Enoshima,  one  of  them 

bending  down  to  tie  her  legging.  Signed,  Kiyonaga. 

Hashira-e.  Size,  25  x  4  A  inches.  Ordinary  impression,  browned. 

590  Hand-in-Hand.  Two  geisha  walking  hand-in-hand  and  eagerly 

conversing.  A  willow  branch  hangs  down  overhead.  Signed, 
Kiyonaga. 

Hashira-e.  Size,  27  x  4Ys  inches.  Late  impression,  browned. 

591  The  Cry  of  the  Cuckoo.  Two  geisha  standing  and  listening  to  the 

cry  of  a  cuckoo  flying  overhead.  Signed,  Kiyonaga. 

Hashira-e.  Size,  27  A  %  4A  inches.  Ordinary  impression,  browned. 

592  Under  the  Ginkgo  Tree.  A  tall  woman  in  a  gauze  summer  kimono 

and  a  wide  straw  hat  standing  under  a  ginkgo  tree,  a  white  cock 
at  her  feet  to  which  a  small  boy  on  the  other  side  of  her  is  beckoning. 
Signed,  Kiyonaga. 

Hashira-e.  Size,  26 A  %  4A.  inches.  Late  impression,  fair  condition. 
See  illustration,  p.  127. 

593  A  Summer  Outing.  Two  women  in  summer  garments  walking  under 

an  umbrella  and  followed  by  a  man-servant  bearing  their  luggage. 
Series:  Onna  Fuzoku  Masukagami,  i.e.,  “A  clear  mirror  of  women’s 
costumes.”  Signed,  Kiyonaga. 

Size,  10  x  7  A  inches.  Fine  impression,  in  fine  condition. 

From  the  collection  of  John  H.  Wrenn. 

594  Joruri-hime  and  her  Ladies  in  Waiting.  Kiyonaga  designed  two 

triptychs  representing  Ushiwaka  serenading  Joruri.  This  print 
is  the  right-hand  sheet  of  the  earlier,  and  finer,  of  the  two.  Signed, 
Kiyonaga. 

Size,  lfYsxD1/^  inches.  Fine  impression,  in  good  condition,  though 
slightly  faded  and  toned. 

595  The  Eijudo  Print  Shop  on  New  Year’s  Day,  1787.  View  of  the  street 

in  front  with  people  passing  and  children  playing.  In  the  shop 
a  man  is  looking  at  a  print.  Series:  Mitsu  no  Asa,  i.e.,  “The 
three  mornings  of  the  New  Year  holidays.”  Signed,  Kiyonaga. 
Size.  10  x  15  inches.  Fine  impression,  fine  condition. 


No.  592 
127 


Third  Evening 


128 


No.  596 

596  Shelter  from  a  Shower.  A  samurai  and  his  man-servant  and  two  women 

standing  under  the  gate-house  of  Mimeguri  Yashiro  at  Mukojima 
for  shelter  from  a  shower.  Left-hand  sheet  of  a  triptych.  Signed, 
Kiyonaga. 

Size,  15l/i  x  10  inches.  Fine  impression,  in  good  condition.  See 
illustration. 

REKISENTEI  EIRI 

Pupil  of  Hasegawa  Mitsunohu.  Nothing  is  known  about  his  life.  He  was 
much  influenced  by  Eishi.  Worked  in  Kwansei  period  ( 1789-1801 ). 

597  Shiokumi  at  Miho  no  Matsubara.  Six  women  shiokumi,  i.e.,  drawers 

of  sea  water  for  making  salt,  are  shown  on  the  beach  of  the  Miho 
no  Matsubara  peninsula.  Mt.  Fuji  in  the  distance.  This  is  a 


129 


Third  Evening 


fanciful  composition.  The  women  are  dressed  in  elaborate  gar¬ 
ments  quite  unsuitecl  to  the  occupation  of  dipping  buckets  of  water 
from  the  sea  and  carrying  it  to  boiling  vats.  Signed,  Rekisentei 
Eiri. 

Triptych.  Size,  lJp/%x29}di  inches.  Ordinary  impression,  in  fair 
condition,  the  middle  sheet  trimmed  a  quarter  of  an  inch  at  the  left. 

598  A  Mitate-e  Daimyo  Cortege.  Women  instead  of  men  take  the  place 

of  most  of  the  Daimyo’s  attendants,  but,  in  the  middle  sheet  a 
young  samurai  attired  in  the  formal  kamishimo,  rides  upon  a 
dappled  gray  horse,  and  another  samurai  brings  up  the  rear  of  the 
procession. 

Triptych.  Size,  15  x  29  inches.  Good  impression,  in  fair  condition. 

TAMAGAWA  SHUCHO 

Very  little  is  known  about  this  artist  save  that  he  worked  at  print  designing 
for  a  few  years  in  the  middle  of  the  Kwansei  period. 

599  Ushiwaka  Serenading  Joruri-hime.  Joruri  is  seated  at  the  left,  playing 

a  koto,  while  her  women  attendants  are  grouped  about  her,  and 
her  maid  Reizei  holds  a  hand  lantern  so  she  can  see  who  it  is  that 
stands  outside  the  gate  and  is  playing  a  flute  so  divinely.  A  very 
rare  work.  So  far  as  the  writer  of  this  catalogue  knows,  it  is  the 
only  triptych  that  Shucho  designed.  Signed,  Shucho. 

Size,  15x30  inches,  trimmed  to  11^x28.  Good  impression,  in  fair 
condition. 

From  the  collection  of  J.  Clarence  Webster. 

KITAGAWA  UTAMARO 

Pupil  of  Toriyama  Sekiyen.  Earliest  studio  name  Toriyama  Toyoaki 
His  personal  name  was  Yusuke,  and  it  is  probable  that  his  family  name  was 
Kitagawa,  as  it  is  given  in  his  burial  record.  Born  in  1753;  died  October  1806. 

600  Viewing  the  Garden.  A  man  and  two  women  on  the  veranda  of  a 

dwelling  looking  out  upon  the  garden.  The  man  appears  to  be 
Utamaro’s  friend  the  novelist  Santo  Kyoden,  who,  until  a  short 
time  before  the  date  of  the  print  was  the  artist  Kitao  Masanobu. 
This  print  and  the  next  are  specimens  of  the  work  of  Utamaro 


Third  Evening 


130 


just  as  he  was  breaking  away  from  the  Kiyonaga  manner.  Signed, 
Utamaro. 

Size,  15  x  9%  inches.  Good,  impression,  in  good  condition,  the  colors 
softl y  faded. 

From  the  collection  of  Frederick  W.  Gookin. 

601  Pleasure  Seekers  at  Miho  no  Matsubara.  A  group  of  people  on  the 

beach  in  summer.  Two  women  are  walking  under  the  pines,  their 
garments  fluttering  in  the  wind,  and  a  beggar  boy  is  soliciting  alms 
from  an  oiran  who  is  being  carried  in  a  kago.  Middle  sheet  of  a 
triptych.  Signed,  Utamaro. 

Size,  14%  x  9%  inches.  Good  impression,  in  fair  condition.  A  piece 
has  been  torn  from  the  lower  right-hand  corner. 

From  the  collection  of  Frederick  W.  Gookin. 

602  A  Cherry  Blossom  Viewing  Party.  A  group  of  women  gathered  for  a 

picnic  under  blossoming  cherry  trees  011  the  summit  of  a  hill. 
Curtains  have  been  stretched  to  protect  them  from  the  wind,  and 
servants  are  busy  preparing  refreshments.  Signed,  Utamaro. 
About  1792. 

Triptych,  size,  15x29 34  inches.  Good,  though  rather  late  impression, 
softly  faded. 

603  Enjoying  the  View.  Two  young  women  upon  the  second-story  balcony 

of  a  building,  one  seated,  the  other  upright  leaning  against  the 
post  supporting  the  corner  of  the  roof  above.  Both  are  gazing 
intently  toward  the  left.  Signed,  Utamaro. 

Size,  12%  x  inches.  Fine  impression,  in  fine  condition. 

(504  Somenosuke  of  Matsuba-ya.  The  popular  beauty  stands  looking 
toward  the  right  while  a  maid  is  seated  beside  her  and  her  kamuro 
stands  awaiting  the  commands  of  her  mistress.  The  printed  in¬ 
scription  "Temporarily  at  the  karitaku  or  improvised  shelter” 
fixes  the  date  of  this  print  as  shortly  after  the  destruction  of  the 
Yoshiwara  in  the  great  fire  of  1794.  Signed,  Utamaro. 

Size,  VfiA  x  9\f  inches.  Fine  impression,  in  fair  condition. 

605  Geisha  ni  Hakoya.  A  geisha  on  her  way  to  keep  a  professional  engage¬ 
ment  on  a  snowy  evening  accompanied  by  a  man-servant  carrying 
her  samisen  in  a  black  lacquer  box,  and  a  lantern  to  light  their 
way.  Signed,  Utamaro. 

Size,  15%  x  10  inches.  Good  impression,  in  fair  condition. 


131 


Third  Evening 


No.  606 


606  Yu  Agare  no  Fuzei.  “After  the  bath.”  Large  head  and  bust  portrait 

of  the  oiran  Komurasaki  of  Tama-ya.  Signed,  Utamaro. 

Size ,  15%  x  10  inches.  Fine  impression,  in  good,  though  not  quite 
perfect  condition.  See  illustration. 

607  O-Some  ni  Hisamatsu.  O-Some  stands  in  a  dejected  attitude  looking, 

down  upon  her  lover  Hisamatsu.  Signed,  Utamaro. 

Hashira-e.  Size,  25h/ %  x  5%  inches.  Good  impression,  fair  condition  . 

608  Three  Niwaka  Performers.  Portraits  of  three  geisha  who  took  part 

in  a  niwaka  or  burlesque  dramatic  performance  in  the  streets  of 
the  Yoshiwara.  The  upper  one  wearing  a  yellow  eboshi  and  carry¬ 
ing  a  staff  trimmed  with  gohei  represents  a  dancing  girl  at  a  Shinto 
shrine;  the  geisha  below  her  at  the  right  represents  an  inaka 
musume,  or  country  girl,  in  the  “aki  no  tei  odori”  or  autumnal 
hand  dance;  the  third  one,  an  oiran  holding  a  mochi-zuki,  or  rice- 


Third  Evening 


132 


cake  pounder.  Impression  with  a  pale  gray  ground.  Series: 
Seiro  Niwaka  Onna  Geisha  no  Bu.  Signed,  Utamaro. 

Size,  15%  x  10%  inches.  Fine  impression,  in  fine  condition;  the 
colors  as  when  first  printed. 

009  Three  Niwaka  Performers.  Three  geisha  taking  part  in  another 
niwaka.  The  upper  one  carries  a  mugi-tsuki  (wheat  pestle),  the 
lower  one  at  the  right  impersonates  an  ogi-uri  (folding-fan  peddler), 
and  the  one  at  the  left,  an  uchiwa-uri  (round-fan  peddler).  Im¬ 
pression  with  mica  ground.  Series:  Seiro  Niwaka  Onna  Geisha 
no  Bu,  not  the  same  series  as  the  preceding  lot,  but  the  same  title. 
Signed,  Utamaro. 

Size,  15 %  %  Id  inches.  Good  impression.  Toned  and  faded 

610  Three  Niwaka  Performers.  Another  sheet  of  the  same  series  as  the 

last  lot,  showing  three  more  of  the  women  performers.  The  wearer 
of  the  yellow  eboshi  personifies  Asazuma-bune;  the  lower  one  at 
the  right  impersonates  a  fan  seller,  and  the  third  a  singer  of  operatic 
songs.  Mica  ground.  Signed,  Utamaro. 

Size,  14%  x  10%  inches.  Fine  impression,  very  slightly  toned. 

611  Takigawa  of  Ogi-ya.  A  tall  oiran  attired  in  an  uchikake  having  a 

pattern  of  foaming  breakers  in  white  on  a  pale  red-purple  ground. 
She  stands  talking  with  her  two  shinzo  who  are  seated  before  her; 
and  her  kamuro  Oname  and  Mename  stand  behind  her.  Signed, 
Utamaro. 

Size,  15  x  9%  inches.  Good  impression,  not  in  very  good  condition. 

612  The  Hour  of  the  Monkey.  An  oiran  out  for  a  walk  accompanied  by 

her  kamuro  and  a  shinzo.  There  were  only  twelve  hours  in  the 
day  in  old  Japan.  The  hour  of  the  monkey  was  from  3  to  5  o’clock 
P.  M.  as  we  reckon  time.  Series:  Seiro  Ju-ni  Ji  Tsuzuki,  "The 
twelve  hours  of  the  day  in  the  Green-houses.”  Signed,  Utamaro. 

Size,  14%  x  9%  inches.  Trimmed  from  15x10.  Good  impression, 
fair  condition. 

613  A  New  Year’s  Day  Fantasy.  Six  women  on  the  bank  of  the  Sumida 

river,  two  of  them  holding  decorated  battledores,  others  standing, 
or  seated  upon  wooden  benches.  Beyond  a  white  cloud  that 
partially  envelops  them  the  buildings  on  the  further  side  of  the 


133 


Third  Evening 


river  are  seen  and  also  a  bridge  crowded  with  many  people.  Signed 
Utamaro. 

Triptych.  Size,  lo}/i  x  30  x/i  inches.  Good  impression,  in  good 
condition. 

From  the  collection  of  J.  Clarence  Webster. 

614  The  Princess  Aoi  Calling  on  the  Lady  of  Rokujo.  The  subject  of  this 
print  is  a  mitate-e  or  transformed  and  modernized  version  of  an 
episode  related  in  the  ninth  chapter,  entitled  “Aoi  ”  of  the  classical 
romance  “Genji  Monogatari.”  The  Emperor  having  abdicated  in 
favor  of  the  heir -apparent,  Prince  Genji  was  made  the  guardian  of 
the  youthful  Emperor.  The  new  ruler’s  second  sister  was  selected 
to  be  the  sacred  virgin  attached  to  the  Shinto  shrine  at  Kamo,  and 
Genji  was  directed  to  take  part  in  the  ceremonial  procession  at 
her  installation.  His  wife,  the  Princess  Aoi,  went  to  view  it, 
accompanied  by  a  train  of  attendants  in  many  court  wagons.  As 
the  road  was  thronged  they  crowded  aside  two  court  wagons 
belonging  to  another  party,  and,  despite  vigorous  protestations, 
forced  them  to  a  position  where  nothing  could  be  seen.  These 
were  the  carriages  of  the  Lady  of  Rokujo,  the  widow  of  a  royal 
prince  whose  daughter  had  been  selected  to  be  the  sacred  virgin 
at  the  Shinto  shrine  at  Ise.  Being  a  person  of  importance  she  was 
deeply  offended.  When  Genji  learned  about  her  mistreatment  he 
hastened  to  call  upon  her  to  apologize,  but  she  refused  to  see  him. 
In  this  print,  Utamaro,  transforming  the  incident,  depicts  Aoi 
making  the  call.  She  is  shown  descending  from  her  goshoguruma 
(court  wagon)  which  is  drawn  up  under  a  blossoming  cherry  tree. 
A  maid  helps  her  down  and  several  of  her  ladies-in-waiting  are 
grouped  around.  In  a  room  in  a  wing  of  her  dwelling  at  the  right, 
the  Lady  of  Rokujo  is  seen  dimly  through  the  mise,  interrupted 
while  writing  a  poem,  and  turning  to  look  at  the  great  lady  who  is 
arriving  and  whom  one  of  the  maids  respectfully  waits  to  receive. 
Her  widowhood  is  indicated  by  her  shaved  eyebrows  and  the  way 
her  hair  is  cut  short  and  tied  in  a  knot. 

The  Princess  Aoi  wears  an  uchikake  (overdress)  having  a  pattern 
of  aoi  (mallow)  leaves  on  a  violet  ground.  Misled  by  the  resem¬ 
blance  to  the  mon  of  the  Tokugawa  family — -three  aoi  leaves 


134 


No.  614 


135  Third  Evening 

conjoined  in  a  circle — Dr.  Kurth  describes  her  as  “a  Tokugawa 
princess,”  and  this  mistake  has  been  repeated  by  other  cataloguers. 
No  representation  of  any  member  of  the  Tokugawa  family  in  an 
Ukiyoe  print  would,  however,  have  been  permitted  by  the  Bafuku 
Government.  Indeed,  only  a  few  years  after  this  print  was  pub¬ 
lished  Utamaro  suffered  the  indignity  of  imprisonment  for  designing 
the  print  entitled  “The  Pleasures  of  the  Taiko,”  which  the  reigning 
Shogun  took  to  be  a  covert  allusion  to  himself. 

Triptych.  Size,  15x30  inches.  Late  impression ,  in  fair  condition. 
A  strip  of  paper  tinted  with  water-color  has  been  attached  to  the  foot  of  the 
right-hand  sheet  to  replace  a  piece  that  was  trimmed  off.  See  illustration, 
p.  134. 

G15  Umegawa-Chubei  no  Kihan.  The  elopement  of  Umegawa  and  Clnibei. 

Series:  Omi  Hakkei,  i.e.,  “Bodies  Meeting”  a  pun  upon  the  similar 
title  signifying  the  eight  scenes  of  Omi.  Kihan,  signifying  “joyful 
friend”  is  a  pun  upon  the  similar  word  meaning  “returning  sails.” 
Signed,  Utamaro. 

Size,  1 5  x  9%  inches.  Good  impression,  in  fair  condition.  Slightly 
toned. 

616  Painting.  A  woman ,  holding  a  brush  in  her  hand,  shows  a  man  who 

leans  forward  behind  her,  a  painting  upon  a  screen.  Series:  Fujin 
Tewaza  Ju-ni  Ko,  i.e.,  “Twelve  Handicrafts  of  Women.”  Signed, 
Utamaro. 

Size,  15  fs  x  10/4  inches.  Fine  impression,  in  fairly  good  condition. 

617  Furyu  mu  Tamagawa.  “Fanciful  Six  Tama  Rivers.”  Six-sheet 

composition,  with  as  many  groups  of  women  on  the  banks  of,  or 
fording  a  river  which  traverses  the  entire  length  of  the  picture, 
each  group  typifying  one  of  the  Tama  rivers.  Signed,  Utamaro. 

Size,  15x60  inches.  Good  impression,  in  good  condition.  See  illus¬ 
tration,  p.  136. 

618  The  Deeply  Thoughtful  Woman.  Head  and  bust  of  a  married  woman 

reading  a  letter.  A  beautiful  example  of  the  kirara-e  or  prints  with 
mica  ground,  in  this  instance  without  any  color  underneath.  The 
figure  is  in  Utamaro’s  most  distinguished  manner  and  the  print 
is  one  of  his  well-known  and  greatly  admired  works.  Series: 


136 


137 


Third  Evening 


Fujo  Ninso  Juppin,  i.e.,  “Ten  Physiognomies  of  Women.”  Signed, 
Sokan  (physiognomist)  Utamaro  ko-gwa  (deeply  thoughtful). 

Size,  14)4x9%  inches.  Fine  impression,  in  very  fine,  though  not 
quite  perfect  condition.  See  frontispiece. 

From  the  collection  of  Frederick  W.  Gookin. 

619  A  Famous  Beauty.  Yoso-oi  of  Matsuba-ya  standing  with  her  kamuro 

beside  her.  Signed,  Utamaro. 

Size,  20%  x  9%  inches.  Good  impression,  fair  condition,  color  softly 
faded. 

UTAMARO  II 

After  Utamaro’s  death  many  prints  were  issued  bearing  his  signature.  Some 
of  them  were  designed  by  Koikawa  Yukimichi,  who  married  the  master’s  widow 
and  took  the  name  of  Baigado  Utamaro,  or  Utamaro  II. 

620  The  Oiran  Mu-Tamagawa.  She  carries  a  lighted  taper  and  stands 

talking  to  a  man  who  is  seated  under  a  mosquito  net  canopy.  The 
artist  says  of  her,  “Tsuki  mayu  zumi,”  i.e.,  ‘Her  eyebrows  are 
like  half  moons  drawn  with  sumi”  (so-called  Chinese  ink).  Signed, 
Utamaro. 

Size,  15%  x  10 fa  inches.  Fine  impression,  in  good  condition. 

621  A  Yoshiwara  Beauty.  Yoso-oi  of  Matsuba-ya  and  her  kamuro,  the 

latter  warming  her  hands  over  a  charcoal  fire  in  a  hibachi.  Series: 
Itsuginu  Hina  no  Kasanegi.  Signed,  Utamaro. 

Size,  15%  x  10 If  inches.  Good  impression,  good  condition. 

KITAGAWA  SHIKIMARO 

Pupil  of  Utamaro.  Dates  of  birth  and  death  unknown. 

622  A  Falcon  on  a  Perch.  The  bird  is  tethered  with  an  ornamental  red 

cord,  and  a  curtain  of  rich  brocade  hangs  from  the  cross  bar  upon 
which  the  bird  stands.  Signed,  Shikimaro. 

Size,  15 Y s  x  10 %  inches.  Ordinary  impression;  somewhat  stained. 

SUZUKI  HARUNOBU 

c.  1730-1770 

623  A  Komuso  walking  on  a  river  bank,  carrying  a  basket  hat  and  a 

shakuhachi.  Series:  Fflryu  Mu  Tamagawa,  i.e.,  “Fanciful  Six 
Tama  Rivers.”  Signed,  Suzuki  Harunobu. 

Hashira-e.  Size,  27%  x  414  inches.  Good  impression,  browned. 


139 


Third  Evening 


624  Shirai  Gompachi.  The  famous  print,  sometimes  called  “The  Flute 

Player,”  though  Gompachi,  who  is  in  komuso  attire,  does  not  carry 
a  flute,  but  a  shakuhachi  which  is  a  kind  of  flageolet.  Signed, 
Suzuki  Harunobu. 

Hashira-e.  Size,  22}/%  x  //%  inches.  Good  impression ,  in  fairly  good, 
though  not  perfect  condition.  See  illustration ,  p.  13S. 

625  Shirai  Gompachi. 

Another  impression,  browned,  but  otherwise  in  good  condition. 

626  The  Basket  Hat.  A  tall  young  woman  trying  on  a  large  basket  hat 

which  she  holds  above  her  head  with  both  hands.  Signed,  Haru¬ 
nobu. 

Hashira-e.  Size,  27/xJf-/  inches.  Good  impression,  softly,  but 
beautifully  faded.  See  illustration,  p.  138. 

IPPITSUSAI  BUNCHO 

Pupil  of  Ishikawa  Talcamoto.  Family  name  Mori.  From  about  1768  to 
about  1775  designed  prints  in  the  style  of  Shunsho,  but  with  a  distinctive  touch 
of  his  own.  Dates  of  birth  and  death  unknown. 

627  Scene  from  a  Drama.  The  first  Ichikawa  Komazo  as  a  man  attired 

only  in  a  short  kimono  and  a  loin  cloth  brandishing  a  two-handed 
sword  and  threatening  to  strike  a  farmer  who  lies  upon  his  back 
in  the  black  mud  of  a  rice-field  and  grasps  his  assailant’s  leg. 

Size,  12x5 /  inches.  Good  impression,  in  good  condition. 

628  The  Second  Sakata  Hangoro  as  an  angry  samurai. 

Size,  12  x  5/ inches.  Good  impression,  faded. 

KATSUKAWA  SHUNJO 

Pupil  of  Shunsho  and  relative  of  Shunyei  who  was  at  least  nine  or  ten  years 
his  junior.  Ordinary  name  Ya.suda  Iwazo.  Before  entering  Shunsho  s  studio 
he  was  a  designer  of  book  illustrations.  His  actor  portraits,  the  work  of  the 
last  two  or  three  years  of  his  life,  were  few  but  of  much  distinction.  Date  of  birth 
not  known;  died  August  13,  1787. 

Portraits  of  Actors.  All  of  hosoe  format,  fine  impressions ,  in  good 
condition. 

629  The  Third  Segawa  Kikunojo  as  a  woman  in  a  white  kimono  with  a 

pattern  of  nadeshiko  pinks.  One  of  the  finest  of  Shun, jo’s  prints- 


Third  Evening 


140 


030  The  Second  Ichikawa  Monnosuke  as  a  man  in  scanty  raiment  standing 
in  a  room  before  a  folding  screen.  Middle  sheet  of  a  triptych. 
The  other  sheets  depict  actors  in  women’s  roles,  as  is  indicated  by 
the  bits  of  their  garments  that  appear  in  this  sheet. 

631  Scene  from  a  Drama.  The  actors  are  the  first  Nakamura  Nakazo 

and  his  pupil,  Nakamura  Kumazo. 

KATSUKAWA  SHUNYEI 

Pupil  of  Shunshd.  Personal  name  Isoda  Kujird.  Chiefly  known  for  his 
actor  prints  which  are  excellent  as  portraits  and  of  marked  individuality  and 
high  artistic  merit.  Born  1768;  died  1819. 

Portraits  of  Actors.  Unless  otherwise  noted,  all  are  of  hosoe  format, 
and  are  good  impressions  in  fair  condition,  and  signed  Shunyei. 

632  The  Fifth  Ichikawa  Danjuro  as  the  image  of  Fukurokuju  after  the 

painting  by  the  Chinese  Emperor  Kan  no  Butei  (Japanese  rendering 
of  his  name)  in  the  drama  “Hana  no  Edo  Masakado  Matsuri” 
kaomise  play  at  the  Ichimura  theatre,  1789. 

633  The  Second  Ichikawa  Monnosuke  as  a  shopkeeper  (?). 

634  The  Second  Ichikawa  Monnosuke  as  an  otokodate  engaged  in  a  sword 

duel  with  an  antagonist  not  shown  in  this  sheet. 

Slightly  soiled. 

635  The  Second  Ichikawa  Monnosuke  as  Hotei  no  O-Iclii,  one  of  the 

Gonin  China  or  “five  women”  in  “Wakamurasaki  Edokko  Soga” 
at  Ichimura-za,  January  and  February  1792.  See  illustration. 

636  The  Third  Otani  Hiroji  as  a  samurai  with  a  drawn  sword,  standing  in 

a  parlor. 

637  The  Fourth  Iwai  Hanshiro  as  Soga  no  Goro  in  “Koi  no  Yosu  Kanagaki 

Soga”  at  Ichimura-za,  February  1789. 

638  The  Fourth  Iwai  Hanshiro  as  a  woman  holding  a  drawn  sword. 

639  Nakamura  Denkuro  Tsuizen.  “Memorial  portrait  of  the  third  Den- 

kuro.”  Standing  figure  of  the  deceased  manager  of  the  Nakamura 
theatre  in  ceremonial  dress. 

640  The  Ninth  Morita  Kanya  as  a  shirabyoshi  (woman  dancer)  holding  a 

suzu  (cluster  of  bells)  and  a  fan. 


141 


Third  Evening 


641  Arashi  Ryuzo  as  a  yakko  biting  his  lower  lip  and  standing  in  a  defiant 

attitude  with  arms  crossed. 

642  Arashi  Ryuzo  as  an  outlaw. 

643  The  Third  Sawamura  Sojuro  as  a  dancer  in  Chinese  costume. 

644  The  Third  Sawamura  Sojuro  as  a  samurai  fencing  with  an  opponent 

not  shown  in  this  sheet. 


ii _ 4 


No.  635 


645  The  Fourth  Iwai  Hanshiro  as  a  woman  holding  a  fan. 

646  Scene  from  a  Drama.  The  second  Ichikawa  Komazo  as  a  samurai 

standing  in  a  menacing  attitude,  and  the  third  Ichikawa  Yaozo 
as  a  defiant  samurai  with  one  knee  on  the  ground,  looking  up  at  him. 

Size,  12 %  x  8%  inches.  Fine  impression,  fair  condition. 

647  Six  Noted  Actors.  Named  from  right  to  left,  the  fourth  Matsumoto 

Koshiro  as  Asagao  no  Sentaro;  Nakayama  Tomisaburo  as  Agemaki 
the  keisei;  the  third  Sakata  Hangoro  as  Kanpera  Monbei,  actually 


Third  Evening 


14.2 


Mihonoya  Shiro  in  disguise;  the  second  Ichikawa  Komazo  as 
Yorozu-ya  Sukeroku,  actually  Iba  no  Jiizo  in  disguise;  the  second 
Ichikawa  Monnosuke,  as  Ikyu-daijin,  actually  Shigetacla  in  dis¬ 
guise;  the  third  Segawa  Kikunojo  in  a  role  that  the  chronicle  fails 
to  record.  Second  act  of  “Mitsuge  Soga  Fuji  noKisewata,”  Ichi- 
mura  theatre,  from  March  16,  1793. 

Ilosoe  hexatych,  each  sheet  12}i  x  ox/i  inches.  The  entire  composition 
probably  consists  of  ten  sheets.  Fine  impression ,  in  fine  condition. 

SHUNKYOSAI  RYUKOKU 

Worked  during  the  Bunkwa  period.  Nothing  is  known  about  his  life. 

648  Imayo  Sekigwa  Asobi.  “Up-to-date  painting  for  recreation.”  A 

woman  seated  on  a  red  rug  spread  in  the  middle  of  a  large  parlor, 
painting  a  picture  of  a  plum  tree.  She  is  the  centre  of  an  admiring 
group  of  women,  one  of  whom  is  holding  up  another  picture  that 
the  artist  has  just  finished.  Signed,  Ryukoku. 

Triptych.  Size,  1 5%  x  30. inches.  Fine  impression,  in  fine  condition, 
the  colors  as  when  first  printed. 

KIKUGAWA  EIZAN 

W orked  about  1 800  1 830 

649  Segawa  of  Matsuba-ya.  She  is  dressed  in  showy  garments  and  stands 

on  the  veranda  of  a  house  where  cherry  trees  in  full  bloom  are  seen 
through  the  railing.  Signed,  Kikugawa  Eizan. 

Size,  lfVs  x  91/ 2  inches.  Fine  impression,  faded  and  trimmed  down. 
From  the  collection  of  John  H.  Wrenn. 

KATSUSHIKA  HOKUSAI 

1760-1849 

650  A  Shinto  Ceremony.  A  shicho  or  attendant  at  a  Shinto  shrine  stand¬ 

ing  upon  a  river  bank  performing  a  prayer  ceremony  while  two 
women  standing  beside  him  engage  in  conversation.  Surimono. 
Signed,  Shinsai.  This  signature  was  used  by  Hokusai  for  a  short 
time  only,  about  1800.  He  then  gave  it  to  his  pupil  Masayuki  who 
afterward  used  it  in  signing  many  surimono. 

Size,  8 x  7  inches.  Fine  impression,  in  fine  condition. 


143 


Third  Evening 


651  The  Mirror.  A  woman  looking  at  her  reflection  in  a  hand-mirror. 

Surimono.  Signed,  Shinsai. 

Size,  8fi  x  7Y%  inches.  Fine  impression,  good  condition. 

FUGAKU  SAN  -  JU  -ROK-KEI 

u Thirty-six  views  of  Fuji.”  Eighteen  prints  of  the  series  and  six  duplicates. 
Each  signed  I-itsu,  formerly  Hokusai.  Size  about  10  x  15  inches. 

652  Sunshu  Ejiri.  View  of  Fuji  from  the  rice  fields  at  Ejiri  in  Sunshu 

on  a  windy  day. 

Late  impression,  in  good  condition. 

653  Sagami  Hakone  Kosui.  View  of  Fuji  from  Hakone  Lake,  province  of 

Sagami. 

First  edition.  Fine  impression,  in  fine  condition,  save  for  a  slight 
stain  along  the  line  of  a  vertical  fold. 

654  Sagami  Hakone  Kosui. 

Another  impression.  Later  printing,  the  clouds  a  deeper  russet  hue. 
In  fair  condition. 

655  Joshu  Ushibori.  Fuji  seen  from  Ushibori  in  Joshu,  where  a  great 

junk  is  at  anchor  close  in  to  the  shore. 

Good,  but  not  very  early  impression,  in  fine  condition. 

656  Sunshu  Katakura  Chayen.  View  of  Fuji  from  a  tea  plantation  at 

Katakura  in  Sunshu. 

First  edition.  Fine  impression,  perfect  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

657  Sunshu  Katakura  Chayen. 

Another  impression,  later,  and  with  stronger  coloring.  In  fine  condition. 

658  Shinshu  Suwa  Ko.  Fuji  seen  from  lake  Suwa  in  Shinshu. 

Aizuri  impression,  entirely  in  tones  of  blue.  Very  early.  In  fine 
condition.  See  illustration. 

659  Kazusa  Narumi.  View  of  Fuji  from  the  sea  off  Narumi  in  the  province 

of  Kazusa. 

Good  impression,  not  in  very  good  condition. 

660  Soshu  Shichi-ri  ga  Hama.  View  of  Fuji  from  Seven-ri  Beach  in 

Soshu. 

First  edition.  Fine  impression,  in  fine  condition,  save  for  slight 
discoloration  along  the  line  of  a  vertical  fold. 

From  the  collection  of  Frederick  W.  Gookin. 


Third  Evening 


144 


No.  658 

661  Bushu  Senju.  View  of  Fuji  from  Senju  in  the  province  of  Bushu, 

where  men  are  fishing  in  a  stream  below  a  weir. 

Good,  but  not  early  impression,  in  fine  condition. 

662  Bushu  Senju. 

Another  impression,  much  later  and  with  stronger  coloring.  In  fine 
condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

663  Nobuto  Ura.  View  of  Fuji  from  Nobuto  by  the  sea. 

First  edition.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

664  Nobuto  Ura. 

Later  impression  with  changes  in  the  coloring.  Fair  condition. 

665  Soshu  Nakahara.  View  of  Fuji  from  Nakahara  in  Soshu. 

First  edition.  Fine  impression,  in  fine  condition,  save  some  slight 
mildew  stains. 

From  the  collection  of  Frederick  W.  Gookin. 

666  Koshu  Masaka  Kosui.  View  of  Fuji  and  its  reflection  in  the  water 

of  Masaka  lake. 

Fine  impression,  in  good  condition. 


145 


Third  Evening 


667  Aoyama  Enza  Matsu.  Fuji  seen  from  the  famous  old  pine  at  Aoyama, 

which  was  trained  to  a  shape  resembling  that  of  the  mountain. 
Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

668  Aoyama  Enza  Matsu. 

Another  impression,  much  later.  In  fine  condition. 

669  Shunshu  Ono  Shinden.  Fuji  seen  in  early  morning  from  Ono  Shinden 

in  Shunshu.  Farmers,  and  carabao  laden  with  faggots  in  the 
foreground. 

Good  impression,  not  in  very  good  condition. 

670  Minobugawa.  Back-view  of  Fuji  from  the  Minobu  river. 

Fine  impression,  in  fine  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

671  Minobugawa. 

Another  impression  with  darker  blue  sky.  In  fine  condition. 

672  Bishu  Fuji  mi  Hara.  Fuji  seen  low  on  the  horizon  through  a  great 

tub  on  which  a  cooper  is  at  work  in  the  Fuji- view  field,  province 
of  Bishu. 

From  the  collection  of  Frederick  W.  Gookin. 

673  Sagami  Umesawa.  View  of  Fuji  from  Umesawa  in  Sagami. 

Good,  but  not  very  early  impression,  fine  condition. 

674  The  Ascent  of  Fuji.  Pilgrims  climbing  up  the  lava  cliffs  and  others 

crowded  into  a  cave  shelter  in  the  mountain  side. 

First  edition.  Exceptionally  fine  impression.  Slightly  stained  by 
mildew. 

From  the  collection  of  Frederick  W.  Gookin. 

675  Koshu  Isawa  Akatsuki.  Fuji  seen  at  dawn  from  Isawa  in  the  province 

of  Kushu. 

First  edition.  Good  impression,  good  condition. 

From  the  collection  of  Frederick  W.  Gookin. 

676  Sen  Pu  Ka  Sai.  The  cone  of  Fuji  seen  on  a  summer  day  in  fair 

weather  with  a  gentle  breeze. 

First  edition.  Very  fine  impression  in  the  original  coloring,  the  moun¬ 
tain  printed  in  a  low-toned  soft  pink  instead  of  the  hot  red  hue  of  the  late 
editions.  In  fine  condition,  save  for  a  vertical  fold.  See  illustration. 
From  the  collection  of  Frederick  W.  Gookin. 


Third  Evening 


14.6 


No.  676 

YANAGAWA  SHIGENOBU 

Pupil  and  son-in-law  of  Hokusai.  Chiefly  known  as  a  book  illustrator  and 
designer  of  surimono.  Born  in  1 78/+;  died  1832. 

677  Surimono.  A  noble  with  long  gray  hair  and  beard  mounted  upon  a 

prancing  steed.  Signed  by  seal  only,  Yanagawa. 

Size,  8%  x  734  inches.  Fine  impression ,  in  fine  condition. 

KATSUSHIKA  TAITO 

Pupil  of  Hokusai,  who  gave  him  the  Taito  name  in  1810.  Worked  in  Edo 
until  1843.  During  Ka-ei  ( 1848-1853 )  worked  in  Osaka.  While  there  he 
forged  Hokusai’s  signature  on  some  of  his  own  designs.  The  forgery  having 
been  detected  he  was  called  “Dog  Hokusai.” 

678  A  Carp  in  a  Swirl  of  Water.  A  famous  print,  often,  though  erro¬ 

neously,  attributed  to  Hokusai.  It  was  published  in  1853  in  one 
of  the  sheets  of  a  set  of  harimaze,  or  pictures  intended  to  be  cut 
apart  for  use  in  pasting  upon  screens  or  the  sliding  partitions  of 
Japanese  houses.  Signed,  Taito.  Two  seals. 

Size,  14x6%  inches.  Good  impression.  In  fair  condition.  Many 
moth  holes  hare  been  neatly  filled  in  with  colored  paper. 


147 


Third  Evening 


G79  A  Carp  in  a  Swirl  of  Water. 

Another  impression,  later,  with  different  coloring. 

KUNISADA  AND  HIROSHIGE 

Tokaido  Go-Ju-San  Tsugi  No  Uchi.  Fourteen  prints  of  the  so-called 
“ Two-brush  set,”  the  figures  by  Kunisada,  the  Tokaido  views  by  Hiroshige. 

Size,  10 If  x  7'Y  inches.  Fair  impressions,  in  good  condition. 

All  from  the  collection  of  Ernest  F.  Fenollosa. 

680  Kanaya.  A  geisha  standing,  holding  a  samisen. 

681  Nissaka.  A  woman  seated ,  writing  a  letter. 

682  Fukuroi.  A  woman  standing,  leaning  on  a  tall  staff. 

683  Maizaka.  A  woman  standing  by  a  mirror-stand. 

684  Yoshida.  A  woman  pilgrim. 

685  Goyu.  A  woman  carrying  a  bathrobe  and  a  towel. 

686  Fujikawa.  A  woman  carrying  a  washtub  filled  with  clothing. 

687  Okazaki.  A  woman  sarumawashi,  i.e.,  monke}^  exhibitor. 

688  Miya.  A  noble  lady  attendant  at  a  Shinto  shrine  holding  a  suzu, 

i.e.,  cluster  of  bells  attached  to  a  wooden  handle. 

689  Ishiyakushi.  A  woman  carrying  a  small  box. 

690  Shono.  A  geisha  holding  a  pipe  and  carrying  a  wide  straw  hat. 

691  Ishibe.  A  woman  fanning  herself. 

692  Otsu.  An  oiran  of  the  town. 

693  Kyoto.  A  Court  lady  in  full  dress. 

TANKA 

The  writer  of  this  catalogue  has  not  succeeded  in  learning  anything  about 
this  artist.  He  appears  to  have  been  a  follower  of  Hiroshige. 

694  Sumidagawa  Togan  no  Zu.  Picture  of  the  east  bank  of  the  Sumida 

river,  Mount  Tsukuba  in  the  distance.  Uchiwa  mount.  Date 
about  1850.  Signed,  Tanka  utsusu  (copied). 

Size,  9  x  1 1 1'2  inches.  Good  impression,  in  fair  condition. 


Third  Evening 


148 


No.  695 

UTAGAWA  HIROSHIGE 

1797-1858 

695  Crossing  the  Bridge."  The  forty-seven  loyal  ronin  on  their  way  to  the 

yashiki  of  Moronao  to  avenge  the  death  of  their  lord  Enya  Hang- 
wan.  Series:  Chushingura.  Signed,  Hiroshige. 

Size,  9\i  x  14-  inches.  Late  impression,  fine  condition.  See  illustration. 

Fishes.  Four  prints  of  the  earlier  series,  published  by  Nishimura-ya. 
Each  signed,  Hiroshige. 

Size,  about  9fi  x  14lA  inches.  All  fine  impressions,  in  fine  condition. 

696  Kasago  ni  Hasaki  ni  Shoga.  Only  the  Japanese  names  of  these  fishes 

can  be  given.  With  them  three  stalks  of  ginger  (shoga)  are  depicted. 

697  Kurodai  ni  Kodai  ni  Udo  ni  Sansho-kinome.  The  Black  Sea-bream 

(Tai),  the  Small  Sea-bream,  young  shoots  of  Aralia  Cordata,  and 
leaves  and  berries  of  Zanthoxylum  piperitum. 

698  Bora  ni  Tsubaki  ni  Hasu.  A  mullet  with  a  branch  of  camellia  and  a 

lotus  root. 

699  Ayu.  Trout  swimming  in  the  current  of  a  stream. 

Three  impressions  of  one  of  the  prints  of  the  second  series,  published  about  1840 
by  Yamada-ya  Shobei.  As  each  of  these  is  from  a  different  edition  the  comparison 
is  very  interesting .  Signed,  Hiroshige. 

Size,  10  x  1454  inches. 


149 


Third  Evening 


700  Koi.  A  carp  swimming  through  weeds  in  a  stream.  Early  impression, 

the  water  a  beautiful  blue,  through  which  long  green  weeds  are 
floating. 

Fine  impression,  in  fair  condition. 

701  Koi.  Later  impression,  the  water  pale  blue  with  dark  streaks,  and 

without  the  weeds. 

Good  impression,  in  good  condition. 

702  Koi.  Still  later  impression.  Similar  to  the  preceding  lot  except  that 

the  color  of  the  fish  is  much  darker. 

Fair  impression,  in  good  condition. 


703  Harimaze  Tokaido.  The  post-stations  on  the  Tokaido  indicated  by 

persons  or  things  connected  with  them,  in  small  pictures  to  be  cut 
apart.  Five  sheets  of  the  series  of  twelve  published  about  1847 
by  Iba-ya  Senzaburo.  The  names  of  the  places  are  written  upon 
the  mounts. 

Size  of  the  sheets,  lf%x  10  inches.  Good  impression,  good  condition. 

704  Harimaze  Tokaido.  One  sheet  of  the  series  of  fifteen  published  by 

Yamaguchi-ya  Tobei  in  1852,  and  three  sheets  of  the  series  pub¬ 
lished  by  Izumi-ya  Ichibei  in  the  same  year.  Place  names  are 
written  on  the  mounts. 

705  Harimaze.  Three  sheets  of  the  Tokaido  set  published  by  Ichibei, 

and  one  sheet  of  the  Kuni  Zukushi  set  published  by  Fujioka-ya 
Keisuke  in  1852.  Place  names  on  the  mounts. 

706  Bizen  Yukazan.  View  of  Yukazan,  province  of  Bizen.  Snow  scene. 

Series:  San  Kai  Mitate  Sumo,  i.e.,  "Mountains  and  Seas  Judged 
as  Wrestling.”  Signed,  Hiroshige.  Dated  Horse  year,  1858. 

Size,  Iff 2  x  9%  inches.  Fine  impression,  in  fair  condition.  See 
illustration. 

707  Viewing  the  Plum  Blossoms  at  Ume  Yashiki.  A  woman  standing  on 

one  of  the  stepping  stones  and  turning  to  look  at  the  blossoms. 
Probably  one  sheet  of  a  triptych.  Signed,  Hiroshige.  Engraved 
by  Taki.  Dated  Ox  year,  1853. 

Size,  VTA  x  10  inches.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 


Third  Evening 


150 


No.  70G 


70S  Crossing  the  Oi  River.  Two.  women  being  carried  across  the  Oi  river 
at  Kanaya  on  the  Tokaido  seated  on  a  platform  borne  on  the 
shoulders  of  nearly  naked  porters.  Middle  sheet  of  a  triptych. 
Not  signed. 

Size,  1414.  x  9%  inches.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

709  The  Elopement  of  O-Han  and  Choemon.  Choemon  carries  O-Han 

upon  his  back,  and  they  are  about  to  drown  themselves  in  the 
Katsura  river.  Signed,  Hiroshige. 

Size,  14/ 8  x  9/i  inches.  Fine  impression,  in  fine  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 

710  Gosei  Asukayama  no  Tsuchi.  '‘The  Earth  at  Asuka  Hill,”  one  of 

the  Five  Elements  (Gosei).  In  the  foreground  a  woman  standing 
in  a  room  where  food  is  set  out  in  porcelain  bowls  on  a  large  tray 
resting  on  the  floor.  In  the  background  Asuka  hill  in  cherry 
blossoming  time,  and  Mt.  Fuji  in  the  distance.  Series,  Edo 
Meisho.  Signed,  Hiroshige. 

Size,  14'%  x  9%  inches.  Fine  impression,  good  condition. 

From  the  collection  of  Ernest  F.  Fenollosa. 


151 


Third  Evening 


MEISHO  EDO  HYAKKEI 

“Famous  Sights  of  Edo,  One  Hundred  Views.”  Seventeen  of  the  119  prints 
of  this  series  and  three  duplicates.  Each  signed  Hiroshige  and  dated  with 
various  seal  dates  from  1856  to  1858.  Size,  1314x814  inches. 

Many  editions  of  the  prints  of  this  series  were  printed  and  impressions 
differ  widely  in  quality  and  in  beauty.  All  of  the  impressions  here  listed  arc 
fine  and  in  fine  condition. 

711  Kakuchu  Shinonome.  Early  dawn  in  the  Yoshiwara.  View  looking 
down  the  Naka-no-Cho  from  outside  the  entrance  gate. 


No.  712 

712  Kameido  Ume  Yashiki.  The  Plum  Garden  at  Kameido,  the  famous 
Gwaryu-bai  or  “Sleeping-dragon”  tree  in  the  foreground.  In 
most  of  the  impressions  of  this  print  the  sky  is  printed  too  deep 
a  red.  This  impression  is  exceptionally  fine.  See  illustration . 


Third  Evening 


152 


713  Sunamura  Moto  Hachiman.  Mew  from  the  grounds  of  the  original 

Hachiman  shrine  at  Sunamura. 

714  Shita-ya  Hirokoji.  The  Shita-ya  dry  goods  shop  in  the  street  called 

Hirokoji;  a  procession  of  women  carrying  red  and  white  umbrellas 
going  up  the  street. 

The  register  is  not  quite  perfect  in  this  impression,  but  the  color  is 
unusually  good. 

715  Kawaguchi  no  Watashi,  Sankoji.  Kawaguchi  ferry  and  the  grounds 

of  Sankoji  temple. 

716  Kawaguchi  no  Watashi,  Sankoji.  Another  impression,  different 

printing,  coloring  slightly  changed. 

717  Eitai  Bashi  Tsukuda  Jima.  Tsukuda  island  and  fishing  boats  at 

anchor  seen  from  beneath  Eitai  bridge  on  a  moonlight  night. 

From  the  collection  of  Frederick  W.  Gookin. 

718  Sakai  no  Watashi.  The  Sakai  Ferry.  Two  boats  are  shown  near 

the  landing  by  a  cluster  of  houses.  In  the  foreground  white  herons 
wading  in  the  stream  and  others  flying  down  to  them. 

719  Mitsumata  Wakare  no  Fuchi.  The  deep  pool  and  separating  bank 

at  the  three  forks  of  the  river. 

From  the  collection  of  Frank  Lloyd  Wright. 

720  Minowa,  Kanasugi,  Mikawashima.  Bird’s-eye  view  of  the  three 

villages  named.  A  crane  stands  in  shallow  water  in  the  foreground 
and  another  is  flying  down  from  above. 

Slightly  soiled. 

721  Meguro  Chioga  Ike.  Chioga  pond,  Meguro.  Cherry  trees  in  bloom 

on  the  bank  are  reflected  in  the  water  of  the  pond. 

722  Shohei  Bashi  Seido  Kandagawa.  The  Kanda  river  at  Seido  from 

Shohei  bridge. 

723  Nakagawa  Guchi.  The  mouth  of  the  Naka  river. 

724  Kanda  Konya-Cho.  Dyers’  street,  in  the  Kanda  District.  Blue  and 

white  cotton  cloth  hung  from  tall  racks  to  dry. 

725  Kanda  Konya-Cho.  Another  impression,  later  printing,  stronger  color. 


153 


Third  Evening 


726  Shinagawa  Gotenyama.  View  of  Goten  hill,  Shinagawa  district, 

famous  for  its  cherry  trees. 

From  the  collection  of  Frank  Lloyd  Wright. 

727  Ukiji,  Akiha  no  Keidai.  In  the  grounds  of  the  Akiha  slirine  at  Ukiji; 

the  red  autumnal  foliage  of  the  maple  trees  reflected  in  the  water 
of  the  pond. 

From  the  collection  of  Frank  Lloyd  Wright. 

728  Minami  Shinagawa  Samezu  Kaigan.  View  of  the  shark  shoal  and 

the  shore  at  South  Shinagawa,  looking  northward  to  Mt.  Tsukuba. 
Frqm  the  collection  of  Frederick  W.  Gookin. 

729  Minami  Shinagawa  Samezu  Kaigan.  Another  impression,  later 

printing,  changed  coloring. 

730  Sendagi  Dangozaka  Hanayashiki.  The  “  Flower  mansion”  at  Dan- 

kozaka  in  the  Sendagi  district,  a  grove  of  cherry  trees  at  the  foot 
of  a  hill  upon  which  a  tea-house  is  located. 

731  Horikiri  no  Hana  Shobu.  Siberian  iris  in  bloom  at  Horikiri. 

KWACHO 

Flower  and  bird  subjects.  Each  signed ,  Hiroshige. 

732  Cuckoo  Flying  through  a  Shower 

Size,  14/4x4%  inches.  Fine  impression  of  one  of  Hiroshige's  most 
admired  prints.  In  fine  condition.  See  illustration. 

733  Ajisai  ni  Kawasemi.  “Hydrangea  and  kingfisher.” 

Size,  IS1/ 2  x  4  Yi  inches.  Late  impression,  good  condition. 

734  Take  ni  Kiji.  “Bamboo  and  pheasant.” 

Size,  IS1/ 2  x  4Yi  inches.  Late  impression.  Not  in  very  good  condition. 

735  Passion  Vine  and  Bird.  Yellow  ground. 

Size,  13 Yz  x  4Y<i  inches.  Good  impression,  not  in  very  good  condition. 

736  Two  Prints  mounted  together  as  a  Diptych.  Maple  branch  with 

autumn  leaves,  with  two  mejiro  (Japan  white-eye)  clinging  to  it; 
and  a  rose  branch  with  a  finch  perched  upon  it. 

Each  12 %  x  4lA  inches.  Late  impressions,  somewhat  browned. 

737  Ominaeshi  ni  Suzuki  ni  Tsuru.  “ Goldenrod,  Suzuki  grass,  and  crane.” 

Size,  13%  x  4fi  inches.  Good  impression,  perfect  condition. 


Third  Evening 


154 


No.  732 

738  Hagi  ni  Suzuki  ni  Tsuru.  A  crane  standing  by  a  clump  of  bush 

clover  (hagi)  and  tall  suzuki  grass  with  waving  pink  plumes. 

Size,  13}/%  x  3 inches.  Ordinary  impression,  good  condition. 

739  Three  Prints  mounted  as  a  Triptych.  Right:  Two  large  white  radishes 

(daikon),  and  a  globe-fish  (fugu).  Middle:  Passion  vine  and 
sparrow.  Left:  a  carp  (koi)  swimming  in  a  rapid  stream. 

Siz^s,  13 x  2Y%,  1 3 }4  x  JSA,  and  ISA  x  3  inches.  Good  impressions, 
fair  condition. 

740  Three  Prints  mounted  as  a  Triptych.  Right:  Plum  branch  and  bird. 

Middle:  Chrysanthemums.  Left:  Nadeshiko  pinks  and  butterfly. 
Size,  each  13}/2  x  2Ys  inches.  Late  impressions,  fair  condition. 

741  Three  Tanzaku.  Wistaria  and  Swallow;  Lobsters  and  Sea-weed; 

Kikyo  and  Suzuki  Grass. 

Size,  each  about  18Y  x  3  inches.  Late  impressions,  in  fair  condition. 

742  Red-flowered  Plum  and  Bird. 

Size,  15  x  5  inches.  Fine  impression,  not  in  very  good  condition. 


155 


Third  Evening 


743  Oshidori.  A  mandarin  drake  and  duck  swimming  in  a  river  while 

snow  is  falling  in  large  scattered  flakes,  and  the  leaves  of  a  bamboo 
branch  drooping  overhead  have  a  coating  of  white. 

Size,  12%  x  4k 2  inches.  Late  impression,  good  condition. 

744  Tsubaki  ni  Suzume  Setchu.  A  sparrow  on  a  snow-laden  camellia 

branch  bearing  a  single  large  pink  flower;  and  another  sparrow 
flying  overhead. 

Size,  12  x  4/4  inches.  Late  impression,  good  condition. 


745  Tsubaki  ni  Uso.  “Camellia  and  Eastern  Bullfinch,”  the  bird  hanging 
head  down  from  a  flowering  branch. 

Size,  14%  *  6%  inches.  Fine  impression,  color  as  when  first  printed. 
In  good  condition,  save  at  the  right  edge  near  (he  top  where  the  surface  is 
abraded.  See  illustration. 


156 


No.  747 


157 


Third  Evening 


746  Omi  Hakkei  Yose  Chijime  Ichiran.  The  eight  scenes  of  Omi  shrunk 

together  and  all  shown  in  one  comprehensive  view.  Signed, 
Hiroshige.  Dated  10th  month  dragon  year,  i.e.,  November  1856. 
Triptych,  size,  13 %  x  38%  inches.  Good  impression,  in  good  condition. 

747  Sumidagawa  Genzu  Setchu  no  Kei.  Panoramic  view  of  the  Sumida 

river  on  a  winter  morning,  the  banks  and  the  buildings  of  the  city 
of  Edo  that  appear  in  the  distance  covered  with  a  mantle  of  snow. 
On  the  further  bank  Masaki  is  seen  at  the  right,  Matsuchi  hill 
and  Asakusa  and  the  pagoda  of  Kinryusan  at  the  left.  On  the 
near  bank  Suijin  is  at  the  extreme  right,  Mokuboji  adjoining  it. 
Hashiba  is  in  the  middle  sheet,  and  Mimeguri  is  at  the  extreme 
left.  Important  as  showing  the  location  of  these  places  so  often 
depicted  by  Hiroshige.  Signed,  Oju  (by  request)  Ichiryusai 
Hiroshige. 

Triptych,  size,  14%  x  £9%  inches.  Fine  impression,  fair  condition. 
See  illustration,  p.  156. 

HIROSHIGE  II 

Pupil  and  son-in-law  of  Hiroshige  I.  First  studio  name  Shigenobu.  After 
Hiroshige's  death  became  Hiroshige  II.  In  1865  retired,  to  Yokohama  and 
took  the  name  of  Rissho. 

748  Yoroi  no  Watashi.  Yoroi  Ferry;  boats  crossing  on  a  winter  day  in 

falling  snow.  Series:  Toto  San-ju-rok-kei,  i.e.,  “Thirty-six  Views 
of  the  Eastern  Capital.”  Signed,  Hiroshige. 

Size,  13%  x  8‘fi  inches.  Fine  impression,  in  fine  condition. 


